Adieu Mr.Subaraman - Boss, Mentor and an Unforgettable Human Being

We had four bosses in BDD those days in the mid 90s and I worked with three of them during my time in IDBI, Mumbai. Mr Subaraman was easily the boss with the most energy, the most mischief, the most intelligence and most fun. He was the kind of a boss who would show up in the list of bosses who made a positive impact on your career, someone you would always  stay in touch, someone you could call up for advice or just to hear an encouraging word. He is in my list for sure and am sure in the list of many of my colleagues.

Mr Subaraman deep in thought (probably thinking of how to improve something that was said or done)

The first thing I remember about him was his smiling face, his boundless energy, his fun demeanour. He had a sharp brain, understood people well and their limitations and motivated them accordingly, rarely lost his temper and was always ready for a laugh. 

In my early days at IDBI Mumbai, I would go early to work and try my hand at poetry - a poem a day was my challenge for a while - until one day Mr Subaraman came to my desk (he always did that, never summoned us by phone to his room which had a magnificent view of the Arabian Sea from the 14th floor of the WTC Tower) to drop off a paper. He read my poem, asked me a couple of questions about it and with all seriousness advised me to stop writing poems. 'They are depressing,' he told me. I continued writing of course and would pull his leg about it for many years - that he throttled a young poet's voice then and there. He would laugh and repeat - but they were depressing.

I would like to believe that he had a particular liking to our bunch of friends - Parag, Mony, Mahender and me - and would always exclaim - you guys are so tall. But then, we all looked up to him and I am sure he knew that. His relationship with Mahender was very different - Mahender, the deep, taciturn, witty Haryanvi and Mr Subaraman, the genial, full of beans Tamilian. We would all have a laugh after one of their famous discussions. He had a very academic relationship with Mony who as a CA rank holder perhaps understood finance like he did. Parag he had a lot of respect for because somehow Parag commands respect by his very presence and with me, we were mostly shooting the breeze because that was what I was good at. Since three of us were in the IDBI cricket team (Parag, Mony and me) he would tell us stories of the days he would play cricket - if I remember right he fancied himself as an off spinner. He must have been good with his guile and his way of foxing people.  

The picture by Landmark Bookstore guys - Immensely grateful

Professionally he had one of the clearest minds I have seen - he understood finance well, he understood business and marketing and he understood human nature. Not many were good at so many aspects of managing businesses - it's just a sign of intelligence. For example, he would encourage me to go on client visits in Bombay which was unheard of then (but which is such a basic thing when you're marketing anything). He always did what was good for the institution - no hanky panky. As a boss he would take time to mentor you, understand your limitations and give you inputs from there, was very patient and mostly fun. He made the grind of the work bearable with his happy demeanour.

He wrote an article with Mony, a very academic one which I would never have read but which made sense enough for the Economic Times to publish it. It was sent to the PMO and the FMO I hear. Quite an achievement and I remember him being quite excited about it.

He could simplify things in his own way to explain to the level of intelligence - one day he told me that we must understand industry like we understand a dosa stall - what's capex, what working capital, what's debt. what's equity. I used that analogy for ever in my classes (still use it, copyright Mr Subaraman). He could also complicate things and ask me stuff like what this ratio meant when used with another ratio and I am like sir, I can barely calculate this ratio right why are you asking me these questions. He would laugh and say, but you should know these things. Never with a 'how come you don't even know this' but with a 'I challenge you to learn this and believe you can'. That's a sign of a great motivator, someone who can always think of interesting ways to challenge you and make you feel equal to the task. He would have made a great coach, teacher.

I remember how he would deal with clients. If they came with some political pressure etc he would first put them in place by asking questions like - why is your company named so and so. It was a simple question but it gave an insight into their mindset. (I used that a lot later on, still use it.) He would be quite direct and sharp if they fooled around. I remember one time he went with our colleague Sati to recover some money from a client to Calcutta and was told that the concerned man was not in office. He figured they were fooling him so he came outside and hid behind a pillar or something and caught that guy when he stepped out of the office later! It's exactly the kind of stuff he was capable of doing.

And oh, he would get wild with any client who was lax enough to pronounce his name wrong - it is Subaraman not Subbaraman - only one b and not two, he would reprimand them severely! Many a promoter went red in the face trying to get it right, more so the gentlemen who were not from the South who squirmed and died to pronounce it right. I can still visualise him doing that.

Another time, he and I went to visit a windmill farm in Andhra Pradesh which had some 20-25 metre high windmills. He decided we should climb up the ladder inside the windmill. It was a tough, vertical climb and all we had were rungs to hold on to, but he climbed. As a sportsman who was still playing some amount of cricket I found it difficult but not my boss who was all smiles at the top of that swaying tower! With him you could always expect the unexpected.

I came away to Hyderabad after our division was shut but kept in touch with him. When I quit I told him. When he came to Hyderabad to meet Ravindra, another colleague of ours, he called me over to chat and I went to Ravindra's house and met him. 

When I visited Chennai for the launch of my first book launch in 2008, I invited him and he was glad to come all the way from Tiruvanmiyur to Mount Road at Nungambakkam, where Landmark Bookstore was. He said he would not buy the book and I was like sir, you have to buy, otherwise how will I make any money. Anyway he was adamant and made me buy my own book and gift it to him which was his guru dakshina and I was glad to do that because I learned so much from him. Even gladder that Landmark people took some pictures and he is there in the audience which is the only picture of his that I have. He read the book and gave me his feedback - this time very positive unlike his opinions of my poems. The next time I went for a book launch to Chennai for '50 Not Out' I invited him but he was away on some consulting work.

I kept updating Mr Subaraman of all the developments in my life - would call him every time in Chennai, even from Hyderabad at times. He would be very happy to hear from me and asked about my friends, my writing. He would always end with a positive word, a pat on the back, so you came away with a smile. I do not remember calling many other bosses like that. Of course I would send him copies of my books when I could.

The book launch event - R Mohan, renowned sports journalist, K Srikkanth, former Indian cricket captain, me and Late VB Chandrasekhar, former Indian cricketer and dear friend

Last I spoke to him was about a year ago when Parag came to visit me in Hyderabad. He was in Bengaluru then and he was happy to hear from us. And last year when Mony and I were in Chennai we spoke about him - don't know if we called him though. 

I am sure Mr Subaraman had enough going on in his life, but he would never tell us of his troubles and bore them alone and with a smile. There's so much to say and so many things to write but enough to say that Mr Subaraman, you've made a deep impact on me as you must have on so many more and I believe there's no better way to live a life. Every extra moment you spent explaining something, showing something through your actions, teaching, giving feedback, asking a question, challenging us, being eternally curious about life - every bit made a difference.  And I hope to imbibe some of it which is the best way to remember you.

This morning I heard from Sati that Mr Subaraman had moved on after a brief illness. Adieu, Mr Subaraman. It was such a pleasure knowing you. And for sure, I will not write a poem or a depressing note about you - I know you would not like it. You always wanted the world to be sunny and that's the way it should be.     

Nice Romantic Song - Mujhe Raat Din

From Sangharsh originally sung by Sonu Nigam, this is Tanishk Shukla's version from Indian Idol.

Thought for the Day - Prosperity is Being Present

While pondering over the question of what prosperity meant to me, I came upon this angle that so much about prosperity is about feeling content with what we have. The feeling of not having, is what messes with the idea of prosperity and it is this feeling that must be addressed.

The solution to it or rather the definition of prosperity can be just about being present. In the present there is no fear of the future, fear of lack, that sinking feeling of not having enough or of wanting more.

In the present, everything is fine. Everything is under control. Everything is handleable. Which brings us to the next thought - our real fear is the fear of losing control. Once we are ok to live without the feeling of wanting to control everything, we are sorted.

The Paradoxes of Our Lives - To be Good, We Must be OK with Being Bad

Being 'good' in the sense that we understand it, is about conforming to societal norms which by definition is not being our true selves. We are influenced by what we think society approves or disapproved which may not be 'good' at all - for us, and for society at large. Our silenced at the state of the world say it all. 

To be really 'good' in a true way, we must first accept the possibility, the presence of all that's 'bad' within us. It is only then that we can get out of the self righteous mode that most 'good' people land in which is a rigid way of looking at the world. When we accept the possibility of the 'bad' within us we get into a more compassionate world view where we understand others from their limitations and motivations just as we know that we have our own limitations.

Having given ourselves permission to be 'bad' (in this case being true to ourselves and our feelings) we can truly be good in the right sense. Good as in honest, fearless, compassionate and true. Which is not bad. 

Acts of Love - The Sweeper and the Squirrel

While on my walk today I heard the crackle on an electric pole and sparks falling. Normally people run away to safety and try to go as far away from such sparks and noises as possible but I saw this young woman, a sweeper, walk purposefully towards the pole while her colleagues did not move an inch.

I wondered if she had left her belongings near the pole which is the only reason I could think of for anyone to walk towards the pole - and watched her. She picked up something from the road and went to her side of the road. When I got closer,l i saw that she was holding a squirrel which was the one that got caught in the electric pole and got a big shock.

She was caressing the squirrel which lay lifeless in her hand. I stopped and asked her and she said that the squirrel got an electric shock and fell from the pole. Then she told me that there had been another incident recently but that squirrel had survived. She took it to a puddle and gave it water. I left her then, telling her that perhaps this squirrel would survive too and she nodded hopefully.

On my next round i could see her walking away from a distance and couldn't resist taking a far shot of this young woman of 25-30, her love for life, her compassion, her priorities in life. No one else had moved, just she, walking purposefully towards the electric pole and the squirrel. How nice that such people exist who share such love for animals or any form of life without getting paid. How nice for the squirrel to know it was cared for in its distress and pain. 

One act of love in all this madness is all one needs to get back hope, faith and belief. Well done young lady. I know you will get rewarded for your selfless acts of Love.

Four Screenplays - Syd Field

 I have no idea how to write a screenplay or to write for screen so I looked in A's shelf and found a few books on screenplay. This one by Syd Field analyses four screenplays of successful films - 'Thelma and Louise', 'Terminator II', 'Silence of the Lambs' and 'Dances with Wolves'. As usual with the masters, there is no point trying to review their work - best draw some nuggets for future reference. Here are some nuggets I found.

The art of screenwriting is all about revealing character.
Good screenplay is the art of discovery.
Good screenwriting plays against the grain, against the obvious, against the way you expect things to happen. 
The true test of good screenwriting is the chord of truth it touches within each of us. A universal truth goes far beyond culture, race, age or geographic location.
Art of screenwriting is finding places where silence works better than words, a story told in pictures.
Film is behavior.
Screenplay is a story told in pictures, in dialogue and description, and placed within the context of dramatic structure.
A screenwriter has to learn the art of writing in pictures.Enter the scene late, get out early.
In a screenplay everything is related to everything else. Every scene, every line, every action, every reaction is all related. A screenplay is organic.

Search for another, original way to say what needs to be said, indirectly, to avoid the obvious. Play against the grain of the scene.
The first 10 pages are the most important. Almost everything you need to know about the movie is found here - if you know what you're looking for.
You must grab the reader's attention, setting up critical information that will pay off in the reader's and audience's understanding of the film's opening situation.
Give essential information about the story and the character.
Open with an action sequence or with an expository character-driven sequence.
Most readers need only 10 pages to know whether a script is working. They look for 3 things - the main character, the dramatic premise and the dramatic situation.
What is character but the determination of the incident. And what is  incident but the illumination of character..
In most screenplays the real story begins at Plot Point 1.
All drama is conflict. Without conflict you have no character.Without character you have no action. Without action you have no story and without story you have no screenplay.
Character can be brought out by incidents.
Action in the screenplay keeps the story moving forward.
When you enter the scene becomes important - enter late, get out early. Every scene has a beginning, middle and end. If you design the scene in this way, then you can enter the scene at the last possible moment just before the purpose of the scene is established. Then you can end the scene literally before it ended.
Illuminate the character with little insights.
Pinch 1 - keeps the story on track, literally holds it together. Primary function is to move the story forward.
Act II - all about obstacles.
Sub text is what is not said during the course of the scene.
Scene bridges time and distance, and moves the story forward.
In mythic terms the 1st part of any journey of initiation must deal with the death of the old self and the resurrection of the new, the hero, the heroic figure moves not into outward space but into inward space to the place from which all being comes into the consciousness that the source of all things is the kingdom of heaven within. The images are outward but the reflection is inward.
Visual metaphors reflect the inward state.
Hindi scriptures consider the outside and inside as one - what's inside our heads, our thoughts, feelings, memories, and emotions - are reflected outside in our everyday life. Our mind creates the experience.
To construct subplot, write each line of action separately. Once the progression of events is laid out from beginning to end, each thread of scene, can be intercut.
Plot point is always an incident, episode or event that's dictated by the needs of the story.
To love yourself is to find yourself - kill their past.
Community of emotion is where the audience becomes one.

Break down the book, scene by scene, line of events, Put scenes on cards.
Who's story is it?
Has to die to be reborn - character.
Tell the story with pictures- shots, scenes, sequences.
Focus on what the camera sees.
A scene is defined by time and place. If you change either, change the scene.
In the 2nd 10 pages section, the story line must stay focused on the main character.
Keep the dramatic need intact - dramatic need is what your main character wants to win, get or achieve during the screenplay
Part of what makes us human is our moral code
The 4 elements that make up the visual dynamics of screen character 1) main character must embody a strong dramatic need 2) strong Point of View, the way your character views the world, a belief system, what he believes to be true 3) attitude, manner or an opinion 4) change - does the character change during the course of the screenplay
In 2 pages of the screenplay we know everything we need to know about the main character
Good screenplay allows the main character to discover what's going on at the same time as the audience discovers what's going on
The hero's journey is one of death and resurrection, leaving one way of life and journeying to find another source of life that brings him into richer, more mature condition
Act 1 is 30 pages (set up story, establish who's who), Act 2 is 60 pages (held together with dramatic context called 'confrontation', obstacles, dramatic need, what main character wants), Act 3 is 30 pages (Resolution)
Tension comes when the audience wants the character to know what the audience knows (audience knows, character does not - open ended, both audience and character knows - closed)
Language of film is shots, scenes, sequences
Visual transitions - picture to picture, sound to sound, image to image, word to word, fades and dissolves, last line of current scene over first line of next
Break down the book, scene by scene, establish line of events, what sticks in your mind
Screenwriting is to learn the craft of writing in pictures
Screenplay is a story told in pictures, in dialogues, description and placed within the context of a dramatic structure
Community of emotion - audience becomes one entity, joined together in the fabric of movie experience

Each scene - beginning, middle and end 

From Callie Khouri, writer of Thelma and Louise
'When I was sitting in that room, it was just me and the screenplay and it was the most perfect experience of my life. Regardless of how anybody felt about it, regardless of anyone's perception of it, when I was alone with those characters, it was the perfect  experience.
Writing it was the first real love affair I had with myself. The first time I ever really loved myself.

....

Lovely. Lot of takeaways.

  

     

 

 

Arts Management Course - Feedback from Students

Some feedback from my students at the Arts Management Course, SN School, Department of Dance. University of Hyderabad. The course is about how to manage one's career as an artist - working on skill and expertise, goals, finance, marketing etc. Easily the most enjoyable part of the year for me.

Respected Sir,

I sincerely thank you for the Art Management course. This subject has created a meaningful shift in my thinking, both personally and professionally.

From the very first day, I felt connected to your class when you shared your journey as a cricketer. Since my brother is also a cricketer who has completed Under-19 tournaments and league matches, I could deeply relate to the discipline, practice, and mindset required in sports. That connection made me more engaged and open to your teachings.

One of the biggest transformations for me has been understanding the shift from a fixed mindset to a learning mindset. Earlier, whenever I faced challenges, I used to doubt myself. Through this course, I realized that growth comes from continuous learning, reflection, and improvement. Though I still feel stuck sometimes between my old thinking patterns and new practices, I consciously remind myself of the principles you taught us.

Some of the most impactful concepts for me were:

The Golden Circle (Start with Why) – It helped me rethink my purpose as an artist and understand what I should prioritize.

From 10,000 hours to 20 hours concept (Josh Kaufman) – It changed my perception about skill acquisition and the importance of focused practice.

Process orientation and taking 100% responsibility – This shifted my focus from only results to disciplined effort and accountability.

People Management – 3As (Acknowledge, Appreciate, Ask for Help) – This improved the way I communicate and build relationships.

Learning to take feedback from others – I understood that feedback is not criticism but a tool for growth. It helped me reflect on myself more honestly.

Thinking from others’ shoes – This concept deeply influenced me. It helped me develop empathy and understand different perspectives before reacting.

SMART Goals (20 years to 6 months planning) – It gave clarity and structure to my long-term vision.

ABC Formula and beliefs – I learned how thoughts influence emotions and actions, and how changing beliefs can change outcomes.

Financial management formula (10% savings, 20% investment, 70% living) – This was very practical and career-oriented.

OKR (Objectives and Key Results) – It helped me understand structured goal execution.

This course has not only enhanced my academic understanding but also shaped my mindset, discipline, and career approach. As an artist, I now realize that management, clarity, emotional intelligence, and responsibility are as important as creative skills.

Even when I feel stuck, I remember your words about process, responsibility, feedback, and perspective. I can confidently say that this course has brought positive change in me and will continue to guide me in my personal and professional journey.

Thank you for teaching us lessons that go beyond the classroom and truly prepare us for life.

With gratitude,

K T
...

Good afternoon

respected sir ,

thank you so much for taking the arts management course and guiding me in various aspects .

I will miss your classes sir because ,after every class of yours I used to feel like all my stress had been removed and I felt happy .

All of the practices which you have told me to do helped me realise where I was going wrong and how to fix my path to success ,how to get clarity ,how to set visions without restricting myself.

your suggestions,inputs, made me think about myself ,how to make myself happy by taking 100%responsibility for my own decisions.

Overall my thinking has changed about various things.This class was more like a therapy where I could share everything openly without hiding anything .You gave me hope and also an understanding of how to bring out positivity in any serious ,difficult situations regarding my path towards my success in life .

thank you sir

S.S
...

Respected Sir,

I would like to express my sincere gratitude for the Art Management course. The subject has brought a positive change in my perspective, helping me understand the importance of mindset, planning, and responsibility in both personal and professional life.



One of the most valuable learnings for me was the transition from a fixed mindset to a growth-oriented approach. I realized that challenges are opportunities for learning and improvement rather than reasons for self-doubt. The course encouraged me to reflect on my thoughts and work consistently towards progress.



Concepts such as starting with purpose, process orientation, focused practice, SMART goal planning, and people management techniques gave me practical guidance for career development. Learning to accept feedback, think from others’ perspectives, and manage goals systematically has improved my confidence and decision-making.

Overall, this course helped me understand that success as an artist requires not only creativity but also clarity, discipline, emotional awareness, and management skills. The lessons learned will continue to guide me in my future journey.

Thank you for your valuable guidance and support.

With gratitude,

A P
...

Respected Sir,

I hope you are doing well.

I wanted to sincerely express my gratitude for your Art Management classes. This subject has taught me so many valuable lessons, not only about management but also about discipline, professionalism, and emotional maturity in the field of arts.

The way you explain each and every concept so clearly and neatly makes it easy to understand and remember. Your teaching style is very structured, professional, and at the same time deeply connected to real-life experiences. The examples you shared in class made the subject more meaningful and practical. I truly believe those lessons will stay with me for a lifetime.

Personally, what I appreciated the most is how this course has helped me become more organized, focused, and self-aware. From the beginning of the semester until now, I can see a positive change in myself. I am working on myself more seriously and professionally because of the guidance I received in your class.

Thank you so much sir, for your dedication, clarity, and constant encouragement, I will forever miss being a part of your sessions, It has truly made a difference in my learning journey.

With sincere respect and gratitude,
JD
...
When the NEP framework introduced optional courses in the 4th semester, I was confused about which one to choose. After asking my senior Sneha, she suggested Arts Management, saying it would be a good option. I enrolled without having any clear idea about the course, and I carried several doubts—whether it would be useful, how the classes would be, and whether I would benefit from it. With these uncertainties, I attended the first class, and within a short time all my doubts disappeared.

The classes brought a real transformation in me. Earlier, I used to fear thinking about the future, even though I had routine aims and goals. I often undervalued myself, felt

demotivated, and believed I could only achieve something if someone else motivated me. I rarely spoke to others and avoided expressing myself. Through this course, however, I began to analyse myself, value my strengths, and gain clarity about my life and goals. The classes gave me space to think, reflect, and communicate. I started engaging with people, appreciating them, and acknowledging their efforts, which helped me grow personally and professionally.

I now have clarity about my aims and how to begin working toward them. I learned how to manage finances responsibly, regained confidence and strength, and felt as though the classes were a form of therapy that helped me reconnect with myself. Sir’s classes gave me direction as an artist and helped me understand how to move forward in life, and that is something I will always carry with me.

I am deeply, sincerely grateful to Sir—not only for teaching, but for helping me rediscover myself. Sir’s classes gave me strength when I had lost it, clarity when I was confused, and hope when I was afraid of the future. What I received was more than knowledge; it was guidance, encouragement, and a reminder of my own worth. I will always remember this as one of the most meaningful experiences of my academic journey. Thank you so much, Sir,

...

Me, I enjoy reading this and feel good about it. All the best to you all.