dimanche 30 avril 2017

How Harvard influenced capitalism

THE GOLDEN PASSPORT 

Business School, the Limits of Capitalism, and the Moral Failure of the Elite 

Duff McDonald 

Harper Business/ HarperCollins Publishers

657 pages; $35


When the Business School was founded in 1908, the first entirely graduate-level professional business programme in the country was described by the future president Abbott Lawrence Lowell as a “great” but “delicate experiment.” Today the school is indisputably great, but hardly delicate. It accepted just 12 per cent of nearly 10,000 applicants in 2016. Eighty-nine per cent of those who were accepted attended, which means that remains the overwhelming first choice among graduate schools of business, despite occasional rankings that put Stanford, Yale or Northwestern ahead of it. There are more than 76,000 living alumni, 33 per cent of whom live outside the United States, forming what is very likely the most potent network of any graduate school.

The marriage of Harvard’s prestige and intellectual pedigree to overtly moneymaking pursuits has yielded an institution that not only teaches the fundamentals of business education but also provides its soon-to-be-wealthy graduates with “unrivaled opportunity,” and has become a “money machine unto itself,” as puts it in his sweeping survey of the school’s history and influence.

But how and why that might be the case isn’t really what interests McDonald, the author of previous about McKinsey, the consulting firm, and JPMorgan’s chief executive, Jamie Dimon. In The Golden Passport, he’s determined to call the Business School to account, citing its founding doctrine, which was to develop “a heightened sense of responsibility among businessmen” (and eventually women) who “will handle their current business problems in socially constructive ways.” In that regard, McDonald is scathing in his critique: Business School has not only “proven an enormous failure,” but its very success has made it positively “dangerous.”  He drives home the point in chapter after chapter, picking up steam in more recent decades: Harvard, he maintains, provided the ideological underpinnings for the junk-bond-induced takeover mania and resulting scandals of the 1980s; the corporate scandals of the 2000s; the egregious increase in the pay gap between chief executives and ordinary employees; the real estate mortgage bubble and ensuing financial crisis; even the election of Donald Trump. 

In virtually every instance, McDonald contends, has obsessively pursued money, sending a disproportionate number of its graduates to consulting firms beginning in the 1950s (it was all but synonymous with McKinsey), to Wall Street in the 1980s and to entrepreneurial start-ups once initial public offerings became the rage in the 1990s — and provided intellectual justifications for its actions. Much of that wealth found its way back to the school itself. Its professors earn enormous sums as consultants to businesses populated by their former students, who also give generously to their alma mater: Its endowment stood at $3.3 billion by 2015, a dedicated portion of the university’s enormous $32.7 billion.

McDonald’s criticism of Michael Jensen, now an emeritus professor, is especially withering. As he sees it, Jensen bears major responsibility for the rapacious hostile takeovers and the obsession with stock prices and short-term results that led to the Enron and WorldCom scandals, as well as for the emergence of outlandishly high chief executive pay. Jensen came to the business school in 1984, just as the junk-bond-fuelled takeover boom was gaining steam, and he became a full-time faculty member in 1989. Undeniably one of the most influential business theorists of modern times, he advocated an “agency” theory of management in which management’s sole duty was to maximize shareholder value. 


Jensen’s theories had simplicity and consistency: If all that matters is shareholder value, then hostile takeovers, leveraged buyouts and other forms of financial engineering, are fine as long as they boost share prices. Jensen is just one of many examples of the insidious relationship between Business School theory and real-world calamities in The Golden Passport, but it seems worth asking: Is McDonald’s broadside fair? It’s hard to fault McDonald, who reports that Business School “shut me out entirely” when he sought cooperation, and pretty much shut down everyone who works there. That seems a shame. McDonald insists he isn’t “anti-business-school” (he attended Wharton), nor is he “anti-wealth.” Nonetheless, he says he found the rejection “liberating.”

But I missed a greater sense of balance. It doesn’t seem fair, to take one major example, to blame for the recent financial crisis. While their actions remain a subject of spirited debate, the HBS graduates assembled by McDonald — starting with former President George W Bush, former Treasury Secretary Hank Paulson and former SEC Chairman Christopher Cox — are credited by many with mitigating the damage and saving the country from an even worse catastrophe. Given the large number of Business grads in high-ranking executive positions, it’s inevitable that many would be ensnared in what turned into a global catastrophe. It’s a shame that some of them didn’t see the looming disaster and sound an alarm. But hardly anyone did, including graduates of every other business school.

I suspect McDonald won’t be invited to campus anytime soon, but perhaps he should be: Agree with him or not, he deserves credit for raising questions that every business school needs to be asking. It’s hard to quarrel with his concluding plea: “HBS should — and can — play a part in helping more people who think about business rediscover a purpose other than profit.” As he puts it: “It needs to graduate more people who are motivated to solve problems, and fewer people who create them.”



© 2017 The New York Times News Service


Let's block ads! (Why?)

How Harvard influenced capitalism

Venkaiah Naidu likens Baahubali 2 to Ben-Hur, Ten Commandments

Union Information and Broadcasting Minister Venkaiah Naidu on Sunday joined the nation in raving about ' 2

The Union Minister took to Twitter to applaud Rajamouli and his team for the brilliant sequel.

"I have just watched 'Bahubali 2-The Conclusion'. It is a great visual treat giving the experience of legendary Hollywoood films like 'Ben-Hur' and 'Ten Commandments'," he tweeted.

Meanwhile, the film continues to receive superb responses from across the nation and numbers of celebrities are sending congratulatory messages to the team of 2.</a>

The SS Rajamouli directed magnum opus has become the first Indian film in history to cross 100 crore net on the very first day of its release.

The movie stars Prabhas, Rana Daggubati, Tamannaah Bhatia and Sathyaraj in pivotal roles.

Let's block ads! (Why?)

Venkaiah Naidu likens Baahubali 2 to Ben-Hur, Ten Commandments

Movie review of Baahubali: The Conclusion: The kingdom has been conquered

Baahubali: The Beginning, the first of the series, hit us like a jolt. And it did so because Indian cinema hadn’t seen a mounted on such a big scale, promising such a spectacle. Nearly nothing about it was commonplace, and almost everything remarkable. Whether it was Shiva (Prabhas) trying to climb a ginormous waterfall, the architectural splendour of the Mahishmati kingdom or the frenetic and kinetic, often jaw-dropping, battleground sequences. As if S. S. Rajamouli, Baahubali: The Beginning’s director, was challenging the very meaning of opulent and grand, heightening the melodrama so much and so often that it looked believable. And to top it all, the ended on a terrific cliffhanger, a question that managed to sustain its potency for nearly two years: Why did Kattappa (Sathyaraj) kill

So (a sequel to Baahubali: The Beginning) – which aims to tie the loose ends of the first part, while telling its own story – isn’t a standalone And that is both its boon and bane. Boon because, unlike the first film, it doesn’t have to set up a world or introduce its characters; it can dive straight into the story, keeping the audiences hooked through a compelling narrative and majestic visuals. And bane because, unlike the first film, the sequel is, more or less, set in the same world; we’re familiar with its settings – and almost nothing about them catches us off-guard, astounding us into submission. (Every part in Baahubali: The Beginning, in contrast, leapt at us, speaking a language of its own: whether it was the 3,000-feet waterfall, the snow-laden forest or the imposing palaces.) Besides, Baahubali: The Conclusion, even though more plot-heavy than its prequel, is still a fairly predictable fare. Sure, we await the answer to the Kattappa- question, but beyond that, we know how the will end – which is understandable, epics aren’t known for surprise endings. Baahubali: The Conclusion, however, is battling some complications of its own making.

Having said that, the sequel, just like the prequel, starts on a strong note. Rajamouli begins in flashback, showing Amarendra Baahubali’s initial days as Mahishmathi’s king and how he fell in love with Devasena (Anushka Shetty). And it is heartening to see that the film’s female lead, Devasena, has much more power and agency than Baahubali: The Beginning’s heroine, Avanthika (Tamannaah). Because even though was a heart-thumping heady ride, it had its disquieting moments: Tamannaah’s Avanthika was almost used as a prop, her mission hijacked by Shiva; a romantic song, picturised on the two, was problematic, for her consent wasn’t clear; the soldiers of the warring kingdom, Kalakeyas, were black brute savages, reinforcing a colonial stereotype. But sets those flaws right by making Devasena her own woman. The daughter of Kuntal Desh’s king, Devasena is a fierce warrior, slaying her opponents with ease, while maintaining her calm and composure, much like the franchise’s heroes. She’s strong-willed, too, holding her own against Sivagami (Ramya Krishnan), the matriarch and the queen mother, rejecting some questionable practices of the Mahishmati kingdom.

There’s enough plot-wise in Baahubali: The Conclusion’s initial segment to keep you interested. Rajamouli revels in Baahubali’s superpower: his hero crumbles giant doors, pulls a huge chariot, tames elephants. The romantic subplot, too, is enjoyable (and although its comedic track is a bit on the nose, there’s nothing here that’s particularly jarring). Rajamouli, just like in Baahubali: The Beginning, keeps finding ways to treat us visually, unleashing his untrammelled imagination on us with full force. So a battleground scene has numerous bulls charging towards the Kuntal Desh with flaring horns. rescues Kuntal Desh’s subjects by opening a dam that drowns the warring army’s soldiers. A few scenes later, a boat becomes airborne, tearing through clouds, surrounded by cloud-shaped horses.

Rajamouli nails the macro – the battle sequences, the big fight, the hero landing the blows, the villains flying in air, anything epic is underlined with a capital-E – but seems indifferent to the micro: the small scenes that allow us to know the characters better, the intimate moments between them. The latter is conspicuous by absence. In fact, only one scene in the – between Kattappa and Baahubali, moments before the latter’s murder – carries true emotional heft. Otherwise, is a litany of adrenaline rush, which is fine and enjoyable on its own terms, but this would have been a better had Rajamouli thrown some heart in the mix, too.

But it’s notable and impressive that is tonally consistent – not just with this but also with its prequel. K.V. Vijayendra Prasad (who’s written the story) and Rajamouli (credited with the screenplay) smoothly make the transition from one part to next, giving every subplot its due, every character motivation its adequate reasons. No part of the plot is played for shocks or results from lazy writing. Even the most important and dramatic revelation, the first film’s cliffhanger, is believable. And with the exception of one bit that feels contrived, Sivagamini realising her mistake, the rest of the is marked by sure-footed plotting.

The fact that both films are riveting and enjoyable should act as a wake-up call for some Indian filmmakers, especially those known for making tedious actioners. Because, unlike their films (centred on cops, gangsters, hitmen), is set in a make-believe world, employing the same melodramatic tropes, especially in action sequences (a hero vanquishing scores of opponents, all by himself), and yet Rajamouli’s is a more believable, more enjoyable, fare.

And it’s so because Rajamouli assiduously sweats the small stuff. In the world of Baahubali, even the action sequences are laced with reasons. The characters’ modes of attack – such as an ingenious sequence in the film, where Shiva’s soldiers are launched into the Mahishmati kingdom on the back of palm trees – are inventive and original, sucking us deep into this world, keeping us hooked, making us care. It also helps that Rajamouli unabashedly adores his heroes, presenting them as beings capable of anything. They uproot trees, tame elephants, crack bricks, rain arrows. He shoots his action sequences (K. K. Senthil Kumar’s cinematography is brilliant) like someone would choreograph songs. Nothing is ordinary; everything is elegance personified. Shiva and gracefully slide onto the ground after a huge jump. They wield their quivers and swords like a musician holding a violin. Blood almost always drips slowly; sometimes it runs in rivulets. is, of course, an epic, so not every can follow its model, but Rajamouli has at least paved the way, showing how even violence can be lyrical, that inventive imagination can bend and break barriers.

Both films, though, make for strange bedmates. is superior to – in terms of plot, characterisation, VFX, even dubbing (the prequel suffered from some awkward translation) – and yet, the first, deliriously original and new, was more enjoyable, hitting us like a sack of bricks. hits us too, but some of the impact is diluted by familiarity. It isn’t Rajamouli’s fault though; he, and his team, should go home proud. The kingdom’s been conquered.

In arrangement with TheWire


Let's block ads! (Why?)

Movie review of Baahubali: The Conclusion: The kingdom has been conquered

Watch: On World Dance Day, Shahid Kapoor shares dancing video with daughter

When daddy cool is one of the finest dancers in the B-Town, Misha has to have it in her!

Shahid Kapoor's recent Instagram post is a proof to the fact that dance is in his daughter's blood.

The 36-year-old star marked the 'World Dance Day' in the cutest way possible, with an Insta-video, showing his daughter matching up to Sasha's dance-steps.


"#worlddanceday #havefeetwilldance #mj dance is in your blood," he captioned the video.

It has Misha, hanging with a support, jumps and grooves to music, while the 'Udta Punjab' actor is heard encouraging her, saying "come on Missy."

.

Let's block ads! (Why?)

Watch: On World Dance Day, Shahid Kapoor shares dancing video with daughter

samedi 29 avril 2017

BookMyShow sales hike at 12 tickets per second over Baahubali 2 craze

Online entertainment ticketing platform said it has so far sold over 3.3 million for " 2", which was released across the country on Friday, or 12 every second a day before the release of filmmaker S.S. Rajamouli's magnum opus.

With this, " 2" which released was in over 6000 screens on Friday, has created an all-time record high on for advance ticket sales surpassing " 1" by over 350 per cent.

" 2", which is most loved by the viewers in South India, continues to see a phenomenal response from Hindi-speaking markets also, it said.

"' 2' is definitely taking the Indian film industry by surprise. The film, even before its release, has proved that its a blockbuster like no other with an extremely high chance of it entering the INR 100 crore club on day 1 itself," said Ashish Saksena, COO-Cinemas,

"We have witnessed unprecedented advance ticket bookings on as fans bought as many as 12 a second. The movie has clearly broken all language barriers and has reaffirmed that the audience loves to watch good content," he said.

Let's block ads! (Why?)

BookMyShow sales hike at 12 tickets per second over Baahubali 2 craze

Style and substance: Reviewing Samsung Galaxy S8 and S8+

Out of the box, both the (Rs 57,900) and (Rs 64,900) looked an amalgamation of the style cues of the edge and the Galaxy Note 7. But the new line was sexier, with more glass than metal and hardly-there bezels. The S8+, with a 6.2-inch screen (6.1-inch without the curved edges) is as tall as the 5.5-inch iPhone 7 Plus, but narrower and thinner. The S8 has a 5.8-inch screen (5.6-inch without the curved edges), but feels like any phone with a 5-inch screen. Since the screens on the S8 and S8+ are practically devoid of bezels, the home button is now a software one, with haptic feedback. The phone is a fingerprint and dust magnet and a bit slippery so one needs to invest in a case, which would undoubtedly hit the looks of the phone. 

Besides the usual ways of unlocking a phone, Samsung offers two other ways: an iris scanner and face recognition. While face recognition is easy, it isn’t that secure. I instead opted for the iris scanner. Setting up wasn’t difficult and it worked without a hitch indoors. On the S8+, the fingerprint scanner, which now flanks the back camera along with the heartbeat monitor, was pretty difficult to reach with my chubby fingers.

The phones run Android 7 out of the box, with Samsung’s Experience UX built on top of it. Samsung has bundled a truckload of apps with the phones, but there’s little sluggishness. One needs to swipe up to access all apps and swipe down for notifications. A swipe to the right brings up Bixby, Samsung’s special sauce.


While you can still access Google Now, does similar stuff and some more, such as one can take a picture of an object and it can give you suggestions. One would need to use more extensively to find out how useful it is. For now, it’s work in progress.

I loved the game mode last year, and this time it was no different. Asphalt 8: Airborne and NFS: Most Wanted performed without a hitch and didn’t heat up the phone too much —  it did eat up a chunk of the battery, though. And you’re better off using headphones for gaming, since in landscape mode, I ended up  muffling the sound on the tiny speaker. 


I binge-watched the last season of Game of Thrones but wasn’t satisfied with the sound, so I turned to the bundled AKG earphones. While the AKG pair was bass-heavy, there was no distortion even at high volumes. They also had a wide soundstage. Next, I listened to Hardwell and on Google Play Music on my daily run, and was impressed. 

Using the 12-megapixel (MP) back camera, the S8 and S8+ focus faster in low light, compared with the S7 line. Photos clicked in direct sunlight came out very well, nearly as good as those clicked by an iPhone 7 Plus. In low light and indoors, Samsung was king. Overall, there are few phones that can match the prowess of the camera on the S8 and S8+. 

The multimedia capabilities of the S8 and S8+ mean you will consume a lot of content on it. With the S8+, I was just about able to get through the day. 


The and S8+ are for those who want the best-looking Android phone in the market and don’t mind using Samsung’s interface. Both of them are solid performers but you can go for the S8+ if you want a sexy phablet.

Apple doesn't reveal hardware details such as RAM and battery capacity; data collated from reports; source: companies and news reports

Apple doesn’t reveal hardware details such as RAM and battery capacity; data collated from reports; source: companies and news reports


Let's block ads! (Why?)

Style and substance: Reviewing Samsung Galaxy S8 and S8+

Baahubali 2 beats Sultan, Dangal in Day 1 collections; makes over Rs 100 cr

S S Rajamouli's magnum opus "Baahubali 2: The Conclusion netted over Rs 100 crore at the ticket window in the country on release day. Trade sources say this is the best ever opening for an Indian film. Even filmmaker expressed his joy over the massive opening of the film.

According to trade analyst Taran Adarsh, the Hindi version of the film collected Rs. 36.54 crore.

"Truly sensational... Rs 36.54. Hindi," Taran tweeted on Saturday.

Originally made in Telugu, the second part in the franchise was dubbed in Tamil, Hindi and Malayalam.

Filmmaker Karan Johar, who is presenting the Hindi version of the film, too tweeted his joy over the bumper opening of the film.

"Unthinkable and unimaginable highest ever day 1 ...data being tabulated ..will take a while!!! Watch this space for the number! #Baahubali," he tweeted.

The Telugu version of the film netted a whopping Rs 53 crore, according to trade analyst Trinath.

"The film has taken a phenomenal opening. In Andhra and Telangana, the film in Telugu minted Rs. 53 crore, making it the biggest opening ever for any film across language in the two states. The film is expected to collect over Rs. 100 crore from the two states over the weekend," he said.

In Tamil Nadu, the film collected around Rs 12 crore on the first day.

"If the early morning shows were not cancelled across Tamil Nadu on Friday, the film could have collected even more. According to early estimates, it has minted around Rs 12 crore. It's going pick up over the weekend...," Trinath added.

In Kerala, the film is believed to have collected around Rs 7 crore on Friday.

In the US, from Thursday premieres alone, the film raked in $2.5 million.

The film stars Prabhas, Rana Daggubati, Anushka Shetty, Tamannaah Bhatia, Sathyaraj and Ramya Krishnan.

Let's block ads! (Why?)

Baahubali 2 beats Sultan, Dangal in Day 1 collections; makes over Rs 100 cr

Aston Martin DB11: A supercar with unearthly allure, supernatural speed

For me, a deep appeal of the automobile lies in the way it speaks to you through your senses, and also what it communicates to the rest of the world. So lately, after having driven an impressive collection of incredible V12 engine cars, which surge with power and cutting-edge technology underneath your feet, I began to think about all the energy that went into designing everything else that makes them great. The perfectly-crafted mirrors. The thunking doors. The headlights that can either flirt, or threaten.
Beastly beauty: Aston Martin DB11
That the DB11 is beautiful is no news. Since it made its debut last year, the $230,345 coupe has won critical and popular worship as a masterpiece. Somehow the folks at Aston figured out how to make the four-wheeled equivalent of Michelangelo’s David: curved across its clamshell hood, muscled along the side haunches, edged across its bladed 20-inch diamond-turned rims and casually potent, from the slender veins of his feet to the curled locks on his brow.

Er, from the new wide front grill to the rear aero blade and deployable spoiler, I mean. I’m talking about the car.

Anyway, photos don’t do (either piece of art) justice. But what I would like to offer for your consideration is the idea that this four-seater is the most capital-B “Beautiful” 12-cylinder car on the market today. Even sweeter: it’s fairly priced, when compared with the others in its class.

This car will elicit feelings in you that will go unprinted here. 

Its lateral-rung grille, spread long and low across the front, is a totally new look for Aston, as is the soft clamshell style hood and those cool rims bladed like the knives of a sushi master. New also are the full LED headlights slanted seductively along the front; their beams can even corner along with the road as the car moves forward. If there is a car that could make something like the good-looking Jaguar F-Type look stubby, this is it.


What’s more, and unlike some others in its segment ( Huracán, ahem) visibility and road clearance aren’t sacrificed for looks. 

Better yet, unlike many supercars, here the interior is as deluxe and well thought-out as the exterior.
Beastly beauty: Aston Martin DB11

Photo: Hannah Elliot/Bloomberg

To recreate the $255,000 DB11 I drove will cost roughly $20,000 in cosmetic upgrades. (That’s just on the inside.) Sitting in this cabin is like sitting inside a beautiful blond-leather Birkin bag — it smells like the inside of a Birkin, too, with a feel as soft to the touch as the calfskin in the Wraith, which costs nearly twice as much. You’ll want to spring for the warm blond interior tone called All Sahara Tan and make sure the top of the ceiling matches the seat insets as well ($2,270). You’ll also need the brogue detailing on the doors ($2,270) — richer than I’ve seen on a new car, swirled in hue like Turkish coffee and milk.

The contrast stitching ($570) and intricate quilted design splayed like fans across the top of the seats and the ceiling ($2,270) are great. They are a welcome change from the diamond-stitched designs that have become ubiquitous in cars of this calibre over the past few years. A “Satin Tan Lace Wood” trim inlay ($500) and gloss black speakers ($920) help complete the look. Consider it your own personal blonde calfskin cocoon. 


Those familiar with this brand will be delighted with other interior upgrades from past models as well. Instead of starting the car by inserting a sleek key fob into the dashboard, the DB11’s fob simply must be in proximity to the car to activate the push-button start. The interior lights illuminate by touch, and a large storage compartment in the centre console slides open and closed at the flick of a tiny lever in the centre console. On the dash, a single round LCD dial in the middle of a 12-inch screen tells speeds and engine status. You can see which of the three drive modes you’ve engaged there as well.

And the back, well, it’s smaller than what you’ll find in the four-seat, four-door Rapide. It’s far more beautiful, though, with the same fanned-out stitching and lush leather wrapping you at every turn. It’ll just require a pronounced hunch and knee swivel to the side for any adult to sit among its charms. 

As for performance, well, this column is about beauty. But it’s worth saying that in the DB11, precision and personality cohabitate flawlessly, as in a driver’s dream.


Where something like the McLaren 570S masters precision, and the Huracán gives personality, each are rather weighted to one end of that spectrum or the other. Meanwhile, DB11 is smooth and balanced, and fast, and powerful. 

© Bloomberg

Let's block ads! (Why?)

Aston Martin DB11: A supercar with unearthly allure, supernatural speed

vendredi 28 avril 2017

With G6, LG is back in the game

After a slew of unpopular phones, the G6, is sure to strike a chord with everyone

LG has been struggling to manufacture a smartphone that would get the same attention as the iPhone or the flagship Samsung phones. With the G6, the South Korean company has aimed to leave a mark.  It definitely is an attractive phone: it’s sleek with a metal unibody design and rounded corners, which make it easy to hold and operate single-handedly. Instead of a power button on the side, the fingerprint sensor at the back doubles up as a power/unlock button.  The G6 sports a 5.6-inch Quad HD display that would provide for immersive Netflix sessions on the ...

TO READ THE FULL STORY, SUBSCRIBE NOW AT JUST Rs 149 A MONTH

Let's block ads! (Why?)

With G6, LG is back in the game

Leaning in and carrying on

OPTION B

Facing Adversity, Building Resilience, and Finding Joy 

Publisher: Alfred A Knopf 

Pages: 226

Price: $25.95


You could almost hear the collective gasp when news broke, in May 2015, that the internet entrepreneur Dave Goldberg had died suddenly while on vacation in Mexico with his wife, Their marriage had become a public one ever since the publication, two years earlier, of Lean In, her book about women and leadership. In it she had written some revolutionary things about marriage (she called it having a “partner”, but the book was so much about redefining gender roles that she clearly seemed to be talking about husbands). Deciding to get married — and the choice of whom to marry — weren’t just central to one’s private life, she wrote. Together they made up the “most important career decision that a woman makes”. She observed that most women at the top aren’t the lonely, single women of clichés; they are married women whose husbands support their ambitions and take equal responsibility for making a home. She said that her great success (she is the chief operating officer of Facebook, which has made her a billionaire) would have been impossible without the unwavering support of her husband. Now, in the cruellest way, she had lost him.

The tragedy was a vicious reminder of the truth we work hard to forget: Life is cruel. It will casually take away the people we love the most. Even the vaunted “C-suite” job is cold comfort when it cost you hours with a lost loved one. Now, two years after Goldberg’s death, Sandberg has written a new book, Option B, which forthrightly addresses all of these issues. It is a remarkable achievement: generous, honest, almost unbearably poignant. It reveals an aspect of Sandberg’s character that Lean In had suggested but — because of the elitism at its centre — did not fully demonstrate: her impulse to be helpful. She has little to gain by sharing, in excruciating detail, the events of her life over the past two years. This is a book that will be quietly passed from hand to hand, and it will surely offer great comfort to its intended readers.

“I have terrible news,” she told her children, after flying home from Mexico. “Daddy died.” The intimacy of detail that fills the book is unsettling; there were times I felt that I had come across someone’s secret knowledge, that I shouldn’t have been in possession of something that seemed so deeply private. But the candour and simplicity with which she shares all of it — including her children’s falling to the ground, unable to walk to the grave when they arrive at the cemetery — is a kind of gift. She was shielded from the financial disaster that often accompanies sudden widowhood, but in every other way she was unprotected from great pain.


Option B
As she did in the memorable Facebook post composed a month after the death, she reports turning in her misery to the psychologist Adam Grant, a friend who had flown to California to attend the funeral and is an expert in the field of human resilience. She told him that her greatest fear was that her children would never be happy again. He “walked me through the data,” she writes, and what she learns offers comfort. Getting “walked through the data,” is as modern a response to grief as the notion that “resilience” is some kind of science. The book includes several illustrative stories that seem to come from Grant’s research, but they are not memorable. It is Sandberg whose story commands our rivetted attention, and it is her natural and untutored responses to the horror that are most moving. “This is the second worst moment of our lives,” she tells her sobbing children at the cemetery. “We lived through the first and we will live through this. It can only get better from here.” That is grief: Somehow, you find a language; somehow you get through it. No research could have helped her in that moment. She is the one who knew what to do and what to say. They were her children, and she knew how to comfort them.

Death humbles each of us in different ways. Suddenly a single mother, Sandberg realised how hollow her Lean In chapter about the importance of fully involved husbands (“partners”) must have been to unmarried women. If only she had known how little time she would have with her husband, she thinks, she would have spent more of it with him. But that’s not the way life works; Dave Goldberg fell in love with a woman who wanted to lead, not one who wanted to wait for him to come home from the office. The unbearable clarity that follows a death blessedly fades with time. We couldn’t live with it every day.


followed the oldest data set in the world, the one that says: The children are young, and you must keep going. Slowly the fog began to lift. She found she had something useful to offer at a meeting; she got the children through their first birthdays without their father; she began to have one OK day and then another. She made it through a year, all of the “milestone days” had passed and something began to revive within her. Grief is the final act of love, and recovery from it is the necessary betrayal on which the future depends. There is only this one life, and we are the ones who are here to live it.
 

© 2017 The New York Times


Let's block ads! (Why?)

Leaning in and carrying on

Style and substance: Samsung Galaxy S8 and S8+

Out of the box, both the Samsung Galaxy S8 (Rs 57,900) and Samsung Galaxy S8+ (Rs 64,900) looked an amalgamation of the style cues of the Galaxy S7 edge and the Galaxy Note 7. But the new line was sexier, with more glass than metal and hardly-there bezels. The S8+, with a 6.2-inch screen (6.1-inch without the curved edges) is as tall as the 5.5-inch iPhone 7 Plus, but narrower and thinner. The S8 has a 5.8-inch screen (5.6-inch without the curved edges), but feels like any phone with a 5-inch screen. Since the screens on the S8 and S8+ are practically devoid of bezels, the home button ...

Let's block ads! (Why?)

Style and substance: Samsung Galaxy S8 and S8+

Beastly beauty: Aston Martin DB11

For me, a deep appeal of the automobile lies in the way it speaks to you through your senses, and also what it communicates to the rest of the world. So lately, after having driven an impressive collection of incredible V12 engine cars, which surge with power and cutting-edge technology underneath your feet, I began to think about all the energy that went into designing everything else that makes them great. The perfectly-crafted mirrors. The thunking doors. The headlights that can either flirt, or threaten.
Beastly beauty: Aston Martin DB11
That the DB11 is beautiful  is no news. Since it made its debut last year, the $230,345 coupe has won critical and popular worship as a masterpiece. Somehow the folks at Aston figured out how to make the four-wheeled equivalent of Michelangelo’s David: curved across its clamshell hood, muscled along the side haunches, edged across its bladed 20-inch diamond-turned rims and casually potent, from the slender veins of his feet to the curled locks on his brow.

Er, from the new wide front grill to the rear aero blade and deployable spoiler, I mean. I’m talking about the car.

Anyway, photos don’t do (either piece of art) justice. But what I would like to offer for your consideration is the idea that this four-seater is the most capital-B “Beautiful” 12-cylinder car on the market today. Even sweeter: it’s fairly priced, when compared with the others in its class.

This car will elicit feelings in you that will go unprinted here. 

Its lateral-rung grille, spread long and low across the front, is a totally new look for Aston, as is the soft clamshell style hood and those cool rims bladed like the knives of a sushi master. New also are the full LED headlights slanted seductively along the front; their beams can even corner along with the road as the car moves forward. If there is a car that could make something like the good-looking Jaguar F-Type look stubby, this is it.


What’s more, and unlike some others in its segment ( Huracán, ahem) visibility and road clearance aren’t sacrificed for looks. 

Better yet, unlike many supercars, here the interior is as deluxe and well thought-out as the exterior.
Beastly beauty: Aston Martin DB11

Photo: Hannah Elliot/Bloomberg

To recreate the $255,000 DB11 I drove will cost roughly $20,000 in cosmetic upgrades. (That’s just on the inside.) Sitting in this cabin is like sitting inside a beautiful blond-leather Birkin bag — it smells like the inside of a Birkin, too, with a feel as soft to the touch as the calfskin in the Wraith, which costs nearly twice as much. You’ll want to spring for the warm blond interior tone called All Sahara Tan and make sure the top of the ceiling matches the seat insets as well ($2,270). You’ll also need the brogue detailing on the doors ($2,270) — richer than I’ve seen on a new car, swirled in hue like Turkish coffee and milk.

The contrast stitching ($570) and intricate quilted design splayed like fans across the top of the seats and the ceiling ($2,270) are great. They are a welcome change from the diamond-stitched designs that have become ubiquitous in cars of this calibre over the past few years. A “Satin Tan Lace Wood” trim inlay ($500) and gloss black speakers ($920) help complete the look. Consider it your own personal blonde calfskin cocoon. 


Those familiar with this brand will be delighted with other interior upgrades from past models as well. Instead of starting the car by inserting a sleek key fob into the dashboard, the DB11’s fob simply must be in proximity to the car to activate the push-button start. The interior lights illuminate by touch, and a large storage compartment in the centre console slides open and closed at the flick of a tiny lever in the centre console. On the dash, a single round LCD dial in the middle of a 12-inch screen tells speeds and engine status. You can see which of the three drive modes you’ve engaged there as well.

And the back, well, it’s smaller than what you’ll find in the four-seat, four-door Rapide. It’s far more beautiful, though, with the same fanned-out stitching and lush leather wrapping you at every turn. It’ll just require a pronounced hunch and knee swivel to the side for any adult to sit among its charms. 

As for performance, well, this column is about beauty. But it’s worth saying that in the DB11, precision and personality cohabitate flawlessly, as in a driver’s dream.


Where something like the McLaren 570S masters precision, and the Huracán gives personality, each are rather weighted to one end of that spectrum or the other. Meanwhile, DB11 is smooth and balanced, and fast, and powerful. 

© Bloomberg

Let's block ads! (Why?)

Beastly beauty: Aston Martin DB11

Movie review: Baahubali 2 - The conclusion is a colossal bore

Watching is like being in a purportedly romantic relationship with a psychotic person who keeps saying “if you can't handle me at my worst, you don't deserve me at my best”. The worst in this case is basically 150 minutes and the best is around 20 minutes. After a fairly decent first part, director S S Rajamouli seems to have gotten a carte blanche from his producers to let his imagination go unfettered in the second part.

He did make a wild and weird movie but it ends up being a distended mess. As suggested at the end of the first part, hits the ground running with the back story of Amarendra Baahubali (Prabhas) and how before his coronation as king of the ancient city of Mahishmati he meets the love of his life Deva Sena (Anushka) under the garb of a simpleton. The first 60 minutes of the movie are slow and the comedy track involving Subba Raju as the simple-minded cousin of Deva Sena barely evokes any laughs. Things pick up a little when Deva Sena realises the real person behind the unassuming guy in her midst and goes to his kingdom with him. A tale of mistaken identities leads to Baahubali's near-real mother Sivagami (Ramya Krishna) make her son Bhallaladeva (Rana Daggubati) as the king.

Second half is how righteousness of both Sivagami and Baahubali lets Bhallaladeva unfurl a vortex of tragedies until his nephew (Mahendra Baahubali) returns to avenge for the deaths. For the last 22 months, we always knew that the antagonist is going to die a bad death in the hands of his blood-thirsty nephew. We have been waiting for the journey for a predestined destination but Rajamouli disappoints. He goes offtrack way too often and by the end we are left huffing and puffing that the whole fuss around Kattappa killing Baahubali is fairly predictable.

The movie reminded me of what Sigmund Freud once said is the defining characteristic of Vienna: Schein über Sein — looking good is better than being good. Rajamouli constantly tries to dazzle but never moves the audience emotionally. The VFX effects by Makuta are top notch and cinematography by Senthil Kumar is awe-inducingly fabulous. Right from the titles to the details of the Mahishmati kingdom and the climactic war sequenes, the movie is a visual delight. But the hollowness creeps in quickly because the story is such a paint-by-numbers revenge drama and in no time the audience will discover that this emperor has no clothes (no pun intended).


is flushed with adrenaline from the word go. For all its flaws, at least the first part felt more organic. But the second part has the phallic-like symbolism attached to right from the word go. In the initial parts, each twitch of his muscle sends the audience into raptures but even he couldn't salvage the movie in the post-interval happenings. Ramya Krishna's character is an oddity. For all the strength she displays as a strong female character in a male-dominated movie, she falls easy prey to hearsay. She epitomises a character in Henry James' The Portrait of a Lady: “Her love of knowledge coexisted with the finest capacity for ignorance.”

Anushka does her bit well but she was far better in the first part where she would be the only one hissing at Bhallaladeva. Rana Daggubati as the scheming villain and Nassar as his father are functionally good. The moments of levity that one experiences invariably have Sathyaraj in them as Kattappa, the trusted commander of both Baahubalis. While the suspense of why Kattappa betrayed Baahubali might have been a cop out, Sathyaraj's intense tumult in the whole sequence is brilliant.


M M Keeravani tries to lift up the sagging plot with his soaring background music and feels like he's over-compensating for his meh-inducing soundtrack barring the title track. Each Rajamouli movie has 30 minutes of amazing wham-bang action with style and brio and has that in spurts:

The way Baahubali beheads a man in front of the whole court, pre-climactic sequence, the way title track was shot and the interval bang. Barring these, the movie feels like Jodorowsky's Dune being mounted on the big screen with dollops of megalomania instead of delicious off kilter sensibility.

The movie left me asking one question: “Did Rajamouli always want to make a mere money spinner instead of investing his passion in coming up with something for posterity's sake?”

Let's block ads! (Why?)

Movie review: Baahubali 2 - The conclusion is a colossal bore

jeudi 27 avril 2017

Bahubali 2 likely to rake in Rs 1,000 crore

Nearly two years after releasing the first part of his magnum opus “Bahubali-The Beginning”, director is all set to release the concluding part of the saga. 

2: The Conclusion” has stirred a box-office storm even before it hits the screens on Friday. 

The first part, which ended at perhaps the most titillating junctures in the recent cinema history, opened to blockbuster collections in the range of Rs 50 crore on day one and went on to collect a massive Rs 650 crore (gross) at the worldwide box-office. The Rs 200-crore franchise is expected to take a record opening, getting close to or even exceeding its predecessor’s record.


Starring Telugu actors and along with and Anushka Shetty, the film will be released in as many as 6,500 screens in the country, including 3D and IMAX — the third film from India to be released in IMAX format (the first two being Dhoom 3 in 2013 and in 2015).

With no other movie releasing on the same day as Bahubali-2, the movie is well-positioned to break box-office records in the southern states of Telangana, Andhra Pradesh, Tamil Nadu, Kerala and Karnataka. 

According to trade analysts, the movie will out do its prequel and rake in around Rs 1,000 crore (gross worldwide) in its life time. Experts bet that the opening day figure could breach Rs 80 crore (gross).

Reports said the film would be released in 9,000 screens worldwide, a record for an Indian film. While 6,500 screens will be for India, 1,400 screens have been earmarked for the US and the remaining 1,100 for the rest of the world. 


The distribution is mainly done by producer Arka Media Works, while the Hindi dub-version is being marketed and distributed by  

The Karan Johar-led homegrown production house also helmed the distribution and marketing responsibilities for the first part. The marketing and distribution by an experienced Bollywood studio, combined with universal appeal of the story and special effects helped Bahubali-The Beginning set the record for the highest-grossing Hindi dub of a regional film till date at Rs 105 crore.


Apoorva Mehta, chief executive officer of Dharma Productions, said, “We have gone with a unique marketing strategy for 2. Very little from the film has been revealed during promotions. Both visually and technically, the sequel is grander than the prequel. Besides the theatrical trailer, we have not released any promos or units prior to its release.”

“The motive behind this was to give the audiences an immersive experience as they witness the bar raising visuals and grandeur directly on the big screen. Going by the public response, the hype, the buzz and the immense curiosity that has gripped the nation, we can say that in retrospect, the marketing strategy has worked well for us. Moreover, the audiences all over the world are very excited to find out the answer to ‘Why Katappa killed ’” the CEO added.

The anticipation for the film has led to a massive surge in advance bookings in India and abroad. BookMyShow, the online ticketing portal, claims to have sold a million tickets days before the release. 


Ashish Saksena, chief operating officer (cinemas) of BookMyShow, said, “ is experiencing an unprecedented advance booking for Bahubali-2. 

We have already sold over one million tickets across languages, even when the bookings have been live for just over a day. Though Bahubali-2 is largely perceived to be loved by South Indian audience, the response from Hindi-speaking markets has been highly encouraging. Once all the cinemas in South come out with their schedules for the film, we expect the online ticket sales for 2 to surge at an increasingly fast pace.”

Reports suggest that the film has made around Rs 19 crore in advance bookings in the US. 

The US has a Telugu diaspora that is ardent in its devotion to films from its state and is also the target audience of distributors and producers. 


2 will not only be released in Teulgu, Hindi and Tamil, but also in German, Japanese, French and Chinese, besides English. 

The Andhra Pradesh government has allowed single screen theatres to run six shows for the movie for 10 days against the normal four shows, while the Telangana government has permitted five shows daily.


Movie Mania: likely to rake in nearly Rs 1,000 crore
 

Domestic release: 6500 screens

International release: 2500 screens; 1400 in the US and 1100 in the rest of the world

Budget: Rs 200 crore 

Producer/Distributor: Arka Media Works; Hindi market distributor, Dharma Productions

Advance Booking: Over one million tickets sold within 24 hours of booking window on BookMyShow

On BookMyShow: Tickets worth Rs 19 crore sold in advance booking in the US alone


 

Let's block ads! (Why?)

Bahubali 2 likely to rake in Rs 1,000 crore

'Bahubali 2 likely to rake in nearly Rs 1,000 crore

Nearly two years after releasing the first part of his magnum opus “Bahubali-The Beginning”, director is all set to release the concluding part of the saga. 

2: The Conclusion” has stirred a box-office storm even before it hits the screens on Friday. 

The first part, which ended at perhaps the most titillating junctures in the recent cinema history, opened to blockbuster collections in the range of Rs 50 crore on day one and went on to collect a massive Rs 650 crore (gross) at the worldwide box-office. The Rs 200-crore franchise is expected to take a record opening, getting close to or even exceeding its predecessor’s record.


Starring Telugu actors and along with and Anushka Shetty, the film will be released in as many as 6,500 screens in the country, including 3D and IMAX — the third film from India to be released in IMAX format (the first two being Dhoom 3 in 2013 and in 2015).

With no other movie releasing on the same day as Bahubali-2, the movie is well-positioned to break box-office records in the southern states of Telangana, Andhra Pradesh, Tamil Nadu, Kerala and Karnataka. 

According to trade analysts, the movie will out do its prequel and rake in around Rs 1,000 crore (gross worldwide) in its life time. Experts bet that the opening day figure could breach Rs 80 crore (gross).

Reports said the film would be released in 9,000 screens worldwide, a record for an Indian film. While 6,500 screens will be for India, 1,400 screens have been earmarked for the US and the remaining 1,100 for the rest of the world. 


The distribution is mainly done by producer Arka Media Works, while the Hindi dub-version is being marketed and distributed by  

The Karan Johar-led homegrown production house also helmed the distribution and marketing responsibilities for the first part. The marketing and distribution by an experienced Bollywood studio, combined with universal appeal of the story and special effects helped Bahubali-The Beginning set the record for the highest-grossing Hindi dub of a regional film till date at Rs 105 crore.


Apoorva Mehta, chief executive officer of Dharma Productions, said, “We have gone with a unique marketing strategy for 2. Very little from the film has been revealed during promotions. Both visually and technically, the sequel is grander than the prequel. Besides the theatrical trailer, we have not released any promos or units prior to its release.”

“The motive behind this was to give the audiences an immersive experience as they witness the bar raising visuals and grandeur directly on the big screen. Going by the public response, the hype, the buzz and the immense curiosity that has gripped the nation, we can say that in retrospect, the marketing strategy has worked well for us. Moreover, the audiences all over the world are very excited to find out the answer to ‘Why Katappa killed ’” the CEO added.

The anticipation for the film has led to a massive surge in advance bookings in India and abroad. BookMyShow, the online ticketing portal, claims to have sold a million tickets days before the release. 


Ashish Saksena, chief operating officer (cinemas) of BookMyShow, said, “ is experiencing an unprecedented advance booking for Bahubali-2. 

We have already sold over one million tickets across languages, even when the bookings have been live for just over a day. Though Bahubali-2 is largely perceived to be loved by South Indian audience, the response from Hindi-speaking markets has been highly encouraging. Once all the cinemas in South come out with their schedules for the film, we expect the online ticket sales for 2 to surge at an increasingly fast pace.”

Reports suggest that the film has made around Rs 19 crore in advance bookings in the US. 

The US has a Telugu diaspora that is ardent in its devotion to films from its state and is also the target audience of distributors and producers. 


2 will not only be released in Teulgu, Hindi and Tamil, but also in German, Japanese, French and Chinese, besides English. 

The Andhra Pradesh government has allowed single screen theatres to run six shows for the movie for 10 days against the normal four shows, while the Telangana government has permitted five shows daily.


Movie Mania: likely to rake in nearly Rs 1,000 crore
 

Domestic release: 6500 screens

International release: 2500 screens; 1400 in the US and 1100 in the rest of the world

Budget: Rs 200 crore 

Producer/Distributor: Arka Media Works; Hindi market distributor, Dharma Productions

Advance Booking: Over one million tickets sold within 24 hours of booking window on BookMyShow

On BookMyShow: Tickets worth Rs 19 crore sold in advance booking in the US alone


 

Let's block ads! (Why?)

'Bahubali 2 likely to rake in nearly Rs 1,000 crore

Curiosity is the best policy

The Curious Marketer

Expeditions in Branding and Consumer Behaviour 

Harish Bhat

Penguin Random House India 

322 pages; Rs 599

Marketing experts and marketers themselves often say marketing is all about common sense — to make it work, all one needs to do is be customer-focused and results-driven. Why, then, should one spend money reading for a Master of Marketing degree from a blue-chip business school? Why should anyone take the trouble of continuous skill development? Because marketing may really be common sense, but the common sense is not that common.

Still with me?


Quite simply, the issue is this: Consumers are changing and the stakes are much higher every day, but marketers and their brands often do not ask the right questions or have the curiosity to look around them, spot the changes or raise their thinking to the next level. What customers truly crave are amazing experiences and you can only give them that if you really understand their likes and dislikes. It is this virtue — curiosity — that separates the boys from the men, the Apples and Tata Teas from the rest of the pack, says in his book The Curious Marketer, a compilation of his columns that have appeared in newspapers. The common thread that binds the stories Mr Bhat narrates is the quality of inquisitiveness that has repeatedly pushed smart marketers — across the globe, irrespective of industry — to leave their comfort zones and explore beyond known boundaries.

So what does curiosity really achieve? “The first reason is that curiosity can lead to new ideas, either immediately or sometime in the future”—just like Steve Jobs’ curiosity led him to learn calligraphy, which several years later, helped him design the distinctive Apple Mac. 

“Curiosity can offer clarity and deep insight in many situations that can quickly lead to new and purposeful marketing actions… Curiosity can help marketers implement continuous improvement in their products and services, thereby constantly delighting customers… Curiosity plays a key role in keeping marketers’ minds always engaged,” says the author.


What makes curiosity such a great virtue? Well, one of the greatest struggles in marketing is irrelevancy, which seems to be a recurring theme among many of in this genre. Each one offers its own version of the right strategy to avoid this common booby trap, by doing something original, controlling the conversation, inspiring customer stickiness, or improving your own offering. 

Mr Bhat takes a completely different route — he simply reminds us of the basics of business that we all seem to forget at some point in our careers. One good thing is that his book is largely anecdotal and remarkably jargon-and theory-free. This book is a straightforward, simple read which illustrates with powerful examples how to create something outside the everyday. 

I suspect Mr Bhat simply wanted to speak as a marketing man to other marketing men, as a member of the profession rather than as a highfalutin theorist or strategy guru. Perhaps, the other reason the author steers clear of theories and schools of thought is that they somehow imply academic stasis, whereas marketing is supposed to be dynamic — it just evolves. 

Back to curiosity — or marketing intelligence if you wish — it can come from many places: Experience, education, even festivals. Mr Bhat sets the agenda for marketers by listing out a series of actions they would do well to integrate in their lives. He lists the first seven steps businessmen and women need to master.

First, he says, be aware that you do not know it all. Second, ask questions all the time. Third, listen extensively, without judgement. Fourth, observe customers with keen and fresh eye. Fifth, seek new experiences, meet new people. Sixth, embrace the unexpected. Seventh, read, read and read. 

As I said common sense, but perhaps marketers are not doing that often enough.

The book, however, leaves out many vital questions — and these are questions most marketers are grappling with today: How does one deal with the massive proliferation of marketing channels? What truly influences people’s decisions in today’s message-cluttered world? How do businesses and brands reach out to new and existing customers on the customers’ terms? More importantly, when should the marketer back off?

That said, “The curious marketer” is a fair amount of homework. Through its 57 articles, it makes a sincere effort to unravel some winning ideas and shows how to apply these rules to help your brand stay relevant. The author has one great advantage — he has worked with the Tata group in various capacities for over 30 years, travelling across the country and the world and has carefully observed human behaviour to help define the products and brands on which he has worked.


Let's block ads! (Why?)

Curiosity is the best policy

Needles and pins net Royal honour for Woodstock firm

INJECTION pens and needles for diabetes patients have netted a Woodstock firm a Queen’s Award for Enterprise. Needles and pins net Royal honour for Woodstock firm

mardi 25 avril 2017

Game of Thrones: Emilia Clarke, Kit Harington paid 2 mn pounds per episode?

The top five actors from 'Game of Thrones', including and Kit Harington, are reportedly being paid up to two million pounds for every episode in the seventh season of the show.

If the reports are true, they would overtake the cast of 'Friends' and 'The Big Bang Theory' as the highest-paid actors in the history of television.

Lena Headey, Peter Dinklage and Nikolaj Coster-Waldau, have also signed the contracts for the seventh and eighth season of HBO's fantasy TV series.

'Game of Thrones' season seven airs from June 25.

Let's block ads! (Why?)

Game of Thrones: Emilia Clarke, Kit Harington paid 2 mn pounds per episode?

Trump Tower Mumbai sales to resume after post-election pause

plans to resume sales at Mumbai after a post-election hiatus, providing a test for India's languishing luxury home market, and the US president's brand.
 
Lodha, one of India's largest property developers, will resume marketing apartments in the 75-storey development in the next few months, said Abhishek Lodha, managing director of the privately held firm. The building is about 60 per cent sold and on target to be completed in 2019, he said.


 
"We made a conscious decision to not sell in the immediate aftermath of his win because we didn't want to be seen as taking advantage of the changed political circumstances," Lodha said in an interview at the company's offices in Mumbai. "We will start sales in June or July and we'll know better then."
 
Enthusiasm for the Trump brand has faded in some parts of the world since Donald Trump was elected president as he moved to enact controversial policies, including a travel ban on several predominantly Muslim nations. He's also sought to restrict H1-B visas, which are used in large numbers by Indian companies and outsourcing firms.
 
The March opening of a Trump hotel in was marked by protests, and a Trump residential tower in Toronto put up for sale after its developer defaulted attracted no bidders apart from its debt holder. Some government ethics experts argue that Trump should sell his business to avoid any risk that his policy could be seen as driven by his family's corporate concerns, though the law doesn't require that.
 
Gold façade
 
Lodha hasn't had any communication with as he's no longer involved with the business, Abhishek Lodha said.
 
Lodha said he's confident the Mumbai tower will be a success, with buyers attracted to the building's post-sales services, a Trump specialty. The tower, which will be sheathed in a "golden-curtain" facade, includes a 24-hour resident manager, membership of a private jet service and access to a seven-acre private park.
 
Mumbai is one of 31 projects Lodha has underway in India and the UK The company is developing the 117-storey World One tower in the city, which it bills as the world's largest residential tower and owns Mumbai's largest land bank, according to its website.
 
Sales of luxury housing have taken a hit since India's government November 8 banned high-denomination notes to crack down on corruption and tax evasion. Real estate has long been a place where Indians have parked cash, often using money on which taxes haven't been paid.
 
While the overall market has snapped back since then, the rebound's mainly been led by affordable housing, Pankaj Kapoor, founder of Mumbai-based Liases Foras Real Estate Rating & Research Pvt, said. Sales of luxury homes are "dead," and it would take about seven years to sell the luxury inventory on the market, with prices unlikely to rise for three or four years, he said.
 
Going public
 
Still, Lodha reported sales reached a monthly record for March, helped by both luxury and mass-market homes. That plus a contribution from its London properties helped push net sales for fiscal 2016-17 up 30 per cent to between Rs 8,300 crore ($1.29 billion) and Rs 8,500 crore, despite demonetisation and Brexit, the company said. The company continues to evaluate an initial public offering, Lodha said.
 
"We said in late 2016 we have an 18-month time-frame to obtain the regulators' approval and we'll stick to that," he said, adding it was too early to speculate on a size of a potential "We'd love to be in the public domain because it would give us the ability to create more wealth for our associates and our employees," he said. "For us that's the single most important reason to go public, as opposed to raising capital."
                

Let's block ads! (Why?)

Trump Tower Mumbai sales to resume after post-election pause

IPL 2017: Rohit Sharma fined 50% of match fee for showing dissent

The incident happened at the Wankhede Stadium last night when Mumbai needed 17 in the last over bowled by Jaydev Unadkat while chasing 161 for win.

In the first delivery, Ben Stokes took a brilliant catch in the deep to pack off Hardik Pandya, while the second was heaved over long-on for a six by Rohit.

Having seen Rohit shuffle across the stumps, Unadkat pushed the third delivery of the over wide and Rohit, realising that the ball was veering away from the guideline for wide deliveries, left it alone.

But umpire S Ravi didn't call it a wide. Disappointed with the decision, Rohit walked up to the umpire and protested angrily even as the square-leg umpire A Nand Kishore intervened.

Needing 11 off three balls, Rohit skied the fourth ball and was caught-and-bowled by Unadkat for a 39-ball 58 as Mumbai went down by three runs.

"Mr Sharma admitted to the Level 1 offence 2.1.5 of the IPL Code of Conduct for Players and Team Officials. This is Mr Sharma's second Level 1 offence this season," the IPL release said.

"For Level 1 breaches of the IPL Code of Conduct, the Match Referee's decision is final and binding," it added. 

Let's block ads! (Why?)

IPL 2017: Rohit Sharma fined 50% of match fee for showing dissent

lundi 24 avril 2017

Port Blair may soon lose 'major port' tag due to lack of container traffic

Blair may soon "officially" lose the tag of a major port, granted to it seven years ago, as the central government is of the view that executing a big-size at that location is not feasible due to lack of

The had engaged a consultant to ascertain whether the declaration of Blair as a major would be a feasible option. According to a source, the consultant has advised the government against it as even a transshipment hub at the location would be unable to attract

Keeping these studies in mind, the government has decided to not have a major at Blair, the source said. 

are the ones that handle large volumes of traffic, Blair does not qualify as one, an official said, however, he did not elaborate whether the government would scrap the June 2010 notification.

On June 1, 2010, under the Indian Ports Act, 1908, the central government had declared Blair as the 13th major in the country. The other are Kolkata (including Dock Complex at Haldia), Paradip, Visakhapatnam, Chennai, Tuticorin, Cochin, New Mangalore, Mormugao, Jawaharlal Nehru, Mumbai, Kandla and Ennore.

It was also decided that the Blair would have territorial jurisdiction over 23 other ports in the state, including East Island Port, Mayabunder Port, Elphinston Harbour Rangat Port, Havelock Port, Neil Island Port, Chowra Port, Teressa and Nancowry Harbour

A committee, headed by the Joint Secretary (Ports), and Chairman, Tuticorin Trust and four other members, was constituted to identify the requirement of staff for Blair Trust and transfer of entire establishment of Management Board to the trust in consultation with the administration and Andaman Lakshadweep Harbour Works to the trust.

The chief secretary, administration, in addition to his own duties and responsibilities, was given the additional charge as the chairman, Blair Trust.

The chief administrator, Management Board, administration would hold additional charge as secretary, Blair Trust till the regular incumbent is appointed.

It was also decided to bifurcate Andaman Lakshadweep Harbour Works into Andaman Harbour works and Lakshadweep Harbour Works.


The Andaman Harbour Works was merged with Blair Trust and the Lakshadweep Harbour Works came under the direct control of the Ministry of Shipping, headed by the deputy chief engineer and with the status of subordinate office to the ministry.

As per the scenario study, conducted by the consultant of Sagarmala, cargo in Indian ports is expected to grow from 1 billion tonnes per annum in 2015-16 to 2.5 billion tonnes in 2024-25.

Out of this, the in existing is expected to grow from 606 million tonnes per annum in 2015-16 to 1.1 billion tonnes in the base case scenario and to 1.29 billion tonnes in the optimistic scenario in 2024-25.

The plans to increase the overall capacity from 1.67 billion tonnes per annum in 2015-16 to more than 3 billion tonnes in 2024-25 to handle the growing

Let's block ads! (Why?)

Port Blair may soon lose 'major port' tag due to lack of container traffic

dimanche 23 avril 2017

Meet billionaire Shetty, who will invest Rs 1,000 cr for The Mahabharata

Of the many opportunities that have offered themselves to Karnataka-born Bavaguthu Raghuram Shetty, among the richest Indians in West Asia, the one he remembers the most is the one to romance Sridevi, albeit on screen. Except, his wife put her foot down. The 75-year-old father of four is now trying something even more ambitious: a Rs 1,000-crore film on The Mahabharata, the mother of all potboilers, which, if it sees light of the day, will be the costliest movie ever made in India.

It has been an eventful life for Shetty. He was 31 when he quit the job as a municipal council officer in his hometown of Udupi and left for the United Arab Emirates. All he had was a degree in pharmacy and a handful of Dirhams in his pocket. Shetty started out as a door-to-door salesman. He washed the only shirt he had every night so that he could start for the next day’s labour grime-free.

 Skip to three decades later. Shetty is a billionaire and philanthropist who runs New Medical Centre, UAE’s largest private health care provider, among other businesses, and is the recipient of various honours, including the Padma Shri. The serial entrepreneur’s involvement with financial services in 1980 created the UAE Exchange that now has a network in 32 countries. His personal wealth is estimated at $3.2 billion.

 Shetty has preserved a suitcase he used to load and carry from clinic to clinic to equip his next generations with humility.

The film on The Mahabharata will be a visual adaptation of M T Vasudevan Nair’s novel, Randamoozham, in which the epic battle unfolds through the eyes of Bhima. M T, as he is better known, says he had dreamt of turning his novel into a film ever since he finished writing it in 1983. “Over the last three decades, many film makers approached me with the proposal to make this into a film. It took this long as I didn’t meet anyone who could envisage it the way I always had.”

That changed when he met V A Shrikumar, a noted ad film maker who shared Nair’s dream of creating a global project at par with Hollywood: it was Shrikumar who approached Shetty with the script. The film will be Shrikumar’s second after he wraps up Odiyan, his directorial debut. He says given the scale of the project, he had asked Shetty for Rs 850 crore — instead, he was given a budget of Rs 1,000 crore.

Shetty expects the movie to be adapted in over 100 languages and reach over 3 billion people across continents. “The Mahabharata is the epic of all epics. This movie will be a true ‘Make in India’ for the world. It will reposition India and its prowess in mythological storytelling,” believes Shetty. He adds he was awestruck by M T’s screenplay. “I have tremendous faith in the ability of Shrikumar to paint this narrative on celluloid. His passion and energy is boundless.”

 Mohanlal, 57, will play Bhim’s character in the film that will be made in two parts: the second releasing within 90 days of the first. This dwarfs the Rs 430-crore budget for the two-part period drama Baahubali, the most expensive Indian film yet, the second installment of which releases this month. “We are fully geared to attain the next level of production quality and visual magic, as well as narrative wizardry with this initiative,” says Shrikumar.

 Shetty’s financial commitment speaks of his passion for the project. But how will a man, who has an empire worth billions of dollars in the UAE, be a part of an Indian film? “I am yet to discuss about his level of involvement,” says M T, adding that Shrikumar is sorting out the logistics with the first-time producer.


 It will be party time for animation studios when the film hits the production floor in September next year. The creators are banking on world-class visual effects, which could surpass those of Baahubali. The technical crew is speculated to include Academy Award winners and big names from Hollywood. And Shetty plans to bring in the cast from all over the world, which he says will represent the myriad characters in

Let's block ads! (Why?)

Meet billionaire Shetty, who will invest Rs 1,000 cr for The Mahabharata

Hillary's Titanic moment

Shattered: Inside Hillary Clinton’s Doomed Campaign

Crown

464 pages; $28


Donald J Trump’s victory over in November came as a shock to the world. Polls, news reports and everything the Clinton campaign was hearing in the final days pointed to her becoming the first female president in American history.

In their compelling new book, Shattered, the journalists and write that Clinton’s loss suddenly made sense of all the reporting they had been doing for a year and a half — reporting that had turned up all sorts of “foreboding signs” that often seemed at odds, in real time, with indications that Clinton was the favourite to win. Although the Clinton campaign was widely covered, and many autopsies have been conducted in the last several months, the blow-by-blow details in Shattered — and the observations made here by campaign and Democratic Party insiders — are nothing less than devastating, sure to dismay not just her supporters but also everyone who cares about the outcome and momentous consequences of the election.

It’s the story of a wildly dysfunctional and “spirit-crushing” campaign that embraced a flawed strategy (based on flawed data) and that failed, repeatedly, to correct course. A passive-aggressive campaign that neglected to act on warning flares sent up by Democratic operatives on the ground in crucial swing states, and that ignored the advice of the candidate’s husband, former President Bill Clinton, and other Democratic Party elders, who argued that the campaign needed to work harder to persuade undecided and ambivalent voters (like working-class whites and millennials), instead of focusing so insistently on turning out core supporters.

There was a perfect storm of other factors, of course, that contributed to Clinton’s loss, including Russian meddling in the election to help elect Trump; the controversial decision by the FBI director, James Comey, to send a letter to Congress about Clinton’s emails less than two weeks before Election Day; and the global wave of populist discontent with the status quo (signalled earlier in the year by the British “Brexit” vote) that helped fuel the rise of both Trump and Bernie Sanders. In a recent interview, Clinton added that she believed “misogyny played a role” in her loss.

The authors of Shattered, however, write that even some of her close friends and advisors think that Clinton “bears the blame for her defeat,” arguing that her actions before the campaign (setting up a private email server, becoming entangled in the Clinton Foundation, giving speeches to Wall Street banks) “hamstrung her own chances so badly that she couldn’t recover,” ensuring that she could not “cast herself as anything but a lifelong insider when so much of the country had lost faith in its institutions.”

Allen and Parnes are the authors of a 2014 book, H R C, a largely sympathetic portrait of Clinton’s years as secretary of state, and this book reflects their access to long-time residents of Clinton’s circle. They interviewed more than a hundred sources on background — with the promise that none of the material they gathered would appear before the election — and while it’s clear that some of these people are spinning blame retroactively, many are surprisingly candid about the frustrations they experienced during the campaign.

Shattered underscores Clinton’s difficulty in articulating a rationale for her campaign (other than that she was not Donald Trump). And it suggests that a tendency to value loyalty over competence resulted in a lumbering, bureaucratic operation in which staff members were reluctant to speak truth to power, and competing tribes sowed “confusion, angst and infighting.”

Despite years of post-mortems, the authors observe, Clinton’s management style hadn’t really changed since her 2008 loss of the Democratic nomination to Barack Obama: Her team’s convoluted power structure “encouraged the denizens of Hillaryland to care more about their standing with her, or their future job opportunities, than getting her elected.”

As described in Shattered, Clinton’s campaign manager, Robby Mook — who centered the Clinton operation on data analytics (information about voters, given to him by number crunchers) as opposed to more old-fashioned methods of polling, knocking on doors and trying to persuade undecideds — made one strategic mistake after another, but was kept on by Clinton, despite her own misgivings.

“Mook had made the near-fatal mistakes of underestimating Sanders and investing almost nothing early in the back end of the primary calendar,” Parnes and Allen write, and the campaign seemed to learn little from Clinton’s early struggles. For instance, her loss in the Michigan primary in March highlighted the problems that would pursue her in the general election — populism was on the rise in the Rust Belt, and she was not connecting with working-class white voters — and yet it resulted in few palpable adjustments. Michigan, the authors add, also pointed up Mook’s failure to put enough organisers on the ground, and revealed that his data was a little too rosy, “meaning the campaign didn’t know Bernie was ahead.”

After a planned appearance in Green Bay with President Obama was postponed, the authors write, Clinton never set foot in Wisconsin, a key state. In fact, they suggest, the campaign tended to take battleground states like Wisconsin and Michigan (the very states that would help hand the presidency to Trump) for granted until it was too late, and instead looked at expanding the electoral map beyond Democratic-held turf and traditional swing states to places like Arizona.

In chronicling these missteps, Shattered creates a picture of a shockingly inept campaign hobbled by hubris and unforced errors, and haunted by a sense of self-pity and doom, summed up in one Clinton aide’s mantra throughout the campaign: “We’re not allowed to have nice things.”
 

©2017 New York Times News Service


Let's block ads! (Why?)

Hillary's Titanic moment