Not interested in the US anymore ?

So says Huawei. Really ?? No, not really. They are very interested in the US. Its just that they have realised that the doors to the US are simply shut for them. There has been a spat going on between the US politicians and Huawei for some time. It looks like the politicians have won.  And it begs the bigger question - can any company in the world be exclusively in one country or region (however big that might be) and hope to be a major player in the world.

Huawei is a telecoms company. They sell networking equipment significantly cheaper than say Cisco. They used to be crappy ( Cisco would snigger at the mention of their name). Not any longer. Same quality, half the price. In an uncomplicated world, companies  should be falling over themselves to buy from them.  But then, the world is not an uncomplicated place.

Huawei is a Chinese company. So what, you might ask ? Huawei's founder and leader was formerly in the Chinese army. Still so what ? Well, the ties with the Chinese government/army/party (same thing) never go away and its quite possible that Huawei will do whatever the Party in China asks it to. Huawei is not a transparent company. It largely refuses requirements that it be so.  And cyber espionage and hacking are weapons that the Chinese government uses against other countries constantly.The world's chief bugger (if you will pardon the bad pun) is China.

So Huawei is a pariah right. Wrong ? The US, and possibly every other major country does the same thing. Except that Obama cannot order Cisco to spy on his behalf while Xi Jinping can so order Huwaei. But then there is enough regulation and oversight in the US to prevent that from happening, or at least knowing that it is happening. And its not at all certain that Huawei would do anything major in the spying arena - its a $35 bn company. If its shown that it is doing something underhand, overnight, it would be expelled from the entire wold. But pompous Senators have repeatedly blocked Huawei from winning major deals in the US. Huawei has tried hard, but has won nothing. In frustration, they have simply given up. The beacon for capitalism and freedom, of course, does not think of the US consumers' interests (of getting things cheaper) and, of course, Cisco and other US competitors have been scrupulously fair , have never lobbied to stall Huwaei and surely windbag Senators have only the national defence of the US at heart.

Begs a question - why is only the US so paranoid. Every country in Europe has no problems dealing with Huawei . Even India, normally a completely paranoid country has plenty of Huawei here. The Chinese brass of Huawei in India go around with names like Ashok Li and Sundar Zhang. By the way, I have to recommend that Ramamritham Liu and Rajalakshmi Wang would also be worthy additions to their team. The only offense they have done to India is to start a Chinese canteen of their own on the grounds that what goes for Chinese food in India is unrecognisable by them and surely Gobi Manchurian is an abomination !

So what will happen to Huawei. They have admitted that they will have to revise their growth plans downwards. Without being truly global, no company can aspire to the big league. 

Or is that really true ? Could a company that's almost exclusively in one country be the largest in the world in its field ? We'll examine that in the next post.

Those black American songbirds

Ravi, who wrote this piece on  various forms of gramophone records is a certifiable music nut. He can wax lyrical (pun intended) on most matters musical. But when he does so about women 100 years old , well ........ you form your own conclusions.

The bloke writes beautifully, writes with passion and his words have magic.  If, at the end, you too fall for big black women who are 100 years old, don't blame me ! Read on.

There is something wonderful about the black American songstress of the days gone by.  They were usually big, with voices to match.  I can always tell a black singer from her voice, because of a certain something, a je ne sais quoi in their voices, in particular, in the voices of the great jazz singers of the 50s and later.   I venture an extreme opinion here when I say that singers of that era invariably were less schooled and less adept in the use of technology than their soul sisters of later decades.  For one – they had to graduate to the recording studio by singing in clubs and speakeasies, in smoky and noisy conditions where they had to make themselves heard. Second, recording technology was not as advanced as it is in these days, so a less than perfect voice could not be digitally tampered with.  As a result their voices sounded more authentic – a naturally lower timbre and the ability to hit high notes with great ease.

Last week I received my long lost consignment of LPs from France and among them was the treasured “At Last” by Etta James.  Etta was born during the Depression to a single mother who had an unsettled life – many jobs, many men, and no money.  No one knows for sure who her father was.  She was brought up in a foster home and discovered singing in a club.   Recording contracts followed. After she was relatively successful with a couple of big hits, the Argo label signed her and released this song and the eponymous LP in 1960.  The song itself was moderately successful initially, but over the years has acquired a sheen. Just listen to the voice here, filled with longing for the loved one who is finally with her.

Music reflects the times, and for me, it is very difficult to separate the performance from the context. This brings to mind the incomparable Queen of Soul, the one and only Aretha Franklin.  One of most beautiful songs from the 60s is “I never loved a man (the way I loved you)”.  And here is a story behind it.  Atlantic Records (founded by the Turkish immigrant Ahmet Ertegun) signed Aretha from another label.  She was then flown to Atlanta to meet the backing band.  This was during the 60s, civil rights, black power etc.  The story goes that she met the band – all of whom were white and of course, all enamoured of this young lady who had already shown her talent.  So they sat down, Aretha on the piano, and they banged out this song in two hours flat. It is very hard to not discern the natural desire of a newbie to showcase her talents even if it was to an admiring bunch of musicians who had not an ounce of prejudice. But this was the sixties in the South, and one can almost hear Aretha say – listen to this, boys, you ain’t heard nothing like this.

Love songs are normally about longing and absence – at least that was how they were. Therefore it is quite rare to come across this gem of a song that combines the longing of love with the pure lust of union, no matter how wrong it is or how messy the whole aspect of a man and a woman in love can get in life. Bessie Smith was another great black musician, who lived between 1895 or so until he tragic death in a car accident in 1937. She started life as a busker and lived a hard life.  The story goes that when she was taken to hospital after the accident the hospital refused to admit her because she was black. The original recording by Bessie Smith is here. However – no disrespect to Bessie – I prefer the version by Nina Simone.  Nina was a regal singer with a strong voice. She took Bessie’s original song and lyrics and modified it in 1968.  I prefer it to Bessie’s – probably because the permissive 60s allowed Nina to include the lust in love into the song.  Here it is - it really catches you by the throat.

And how can one not talk of the Queen of Jazz, Ella Fitzgerald.  She lived a long and honored life, culminating in the Congressional Medal of Freedom awarded by Bush 41.  Born in 1917, she had a difficult and unhappy childhood but soon began singing on stage until her first recording contract.  She sang scat and bebop, but really became the darling of the American people when Verve Records (a label created around her!)  got her to record the Cole Porter Songbook.  This became the first of a series of records that focused on a single composer and helped establish them in the pantheon as serious musical works.  She also performed a subtle service to America – here was a black woman singing the songs that were predominantly composed by, sung by and listened to by the white American public.  There are many songs by Ella to choose from but my personal favourite is from the Rodgers and Hart songbook, “Manhattan”.  So evocative of that wonderful city, and so full of the simple joys of love between an ordinary guy and an ordinary girl.  What could be more democratic than that?

Let’s conclude with my personal favourite from Billie Holiday.  Another big black lady, with a voice that was made for wit and play with a beautiful vibrato.  Her childhood was anything but happy.  Born in 1915 to a teenaged single mother, she spent her childhood with a relative for the most part since her mother worked on the railroads.  Billie (born Eleanora Fagan) played truant from school at the age of 10 and was sent to reform school. At the age of 11 her neighbour raped her.  Her mother moved to Harlem, and both mother and daughter became prostitutes.   She was arrested and released at the age of 14.  She then started singing in bars and clubs in Harlem. Talent will out, and she made her first record at the age of 18.  Towards the end of her life (she died in 1959) she made an album for Verve whose title song “Day In Day Out”  showcases her amazing talent.  And when you listen to it you will understand why she is one of the great influences on jazz and pop singers since. 

This cannot be an exhaustive list by any means and neither is this anything but a set of purely subjective opinions.  I love these songbirds, and listening to them gives me hours of joy. It is always poignant to remember how unhappy their lives were, and wrought from these tempestuous beginnings were a musical gift we must treasure. Do explore these singers.  Switch on the music. Take your favorite senor or senorita by the hand to the dance floor.  On commence!

"Lala" Infosys

Infosys was , is , and will be a great company. Unarguably. But even great organisations suffer from malaise. Surprisingly, Infosys suffers from the malaise that you would not normally attribute to it - the Lala problem. Yes, I know, I am throwing mud at a great company, but you have to expect it if you lose 20% of your market value in one day.

Wait a minute. Isn't Infosys one of the most professional of companies ? A company that sets the standard for corporate governance. The company that raised the bar on ethical business. The company with the middle class values ? All true. But Infosys suffers from the same problem that family run companies have - the company is handed down from one  "family" man to another.

Only in Infosys' case, the "family" is not blood related, but the group of founders who set up Infosys. The peerless Narayana Murthy established it. The relentless Nandan Nilekani drove it to the status of a world leader. Kris Gopalakrishnan then took up the baton and reaped the boom years. And then , just like in a family,  the company was handed over from brother to brother, to Shibulal, the last of the founders. And as we all know, second and third generation families are never the same as the first generation.

In all this, quite a few senior managers stepped away, knowing they had reached the end of the road - not just that they could never lead the company, but that in the set way of things, they had done all that they could.

Infosys is not known in the market as a great company to work for. This, despite its undoubted brilliance, its strong values, its untarnished reputation and its incredibly strong balance sheet.  It simply does not attract the best quality talent that a leader in the industry should. And it loses talent far faster.

Calling it a "Lala company" is an insult to a great institution. But a staunch admirer of the company, and its founders that I am , I am usurping the right to be unfair.  A classic response of an organisation that is in the situation that Infosys is in now, would be to make an acquisition - especially since there is a mountain of cash burning a hole in its pocket. If its does that, it surely is then a Lala company. For that's what Lalas do.

Infosys will bounce back. It is suffering from the middle age blues - as all of us in our personal lives do too. It has reached middle age perhaps a little earlier than its peers - even in that it is a trail blazer. But its bounce will be faster if the founders leave. Lock their doors and go.

Its time for Infosys Gen 2 to emerge. One where there are no more "Lalas". 

An unfair post this one. For sure.  But you are only unfair to somebody you admire.

Now you know, why this kolaveri di !

Murderous rage is exactly what I am feeling for all "coders" at the moment. Noticing that a good rant has been somewhat long overdue on this blog and given that I think I have solved the answer to the famous question - why this kolaveri di  , I think this post is justified !

You see, a couple of days ago, Samsung released the new Android OS (cutely named Jelly Bean) for its smartphones in India. Yes I know, Jelly Bean is ancient news, but that's how long it takes for things to come to India. Yours truly's phone duly got updated.  And promptly lost all its screens, settings, etc etc. Having been a veteran of software upgrades from MS DOS (anybody remember) and having been burned a few zillion times, "kolaveri" had long given way to stoic resignation . But this one takes the cake.

Remember the prompt when you are trying to delete and move something - it asks you - are you sure and gives you the option of OK or Cancel ? Notice it next time when that comes - its always the OK button on the left and the Cancel button on the right. Well, the coders of Jelly Bean decided that they should transpose the buttons - we know have Cancel on the left and OK on the right ! Why oh why oh why oh why oh why??? Which brilliant mind thought of this ?? After a zillion times of pressing OK when I wanted to Cancel and vice versa, you can now start to figure out "why this kolaveri" ?

And of course, the grand daddy of them all, the upgrade to Windows 8. Terra bytes of lament have been written about the disappearance of the Start Button. But Windows 8 has millions of such "improvements" that give a new meaning to the word kolaveri. For instance, the place where you key in a website address ? - since browsers had been invented, they are at the top. Now, in Internet Explorer for Windows 8, some "brihaspati" has thought it fit to take it to the bottom. Grrrrrrrrrrr. The most counter intuitive piece of coder output, surely has to be Windows 8. No wonder kolaveri is rampant.

Which brings us to the vital question - are coders just plain dumb ? Don't companies like Microsoft or Google test anything out with actual consumers - people like you and me ? A 5 minute conversation with an 8 year old would have solved all the disasters of Windows 8.  Consumer goods companies test everything out with amazing painstaking care - even the length of the french fry and the angle at which it curls is tested for months (I am not kidding).  And then you have a Google which comes and transposes the OK and Cancel buttons. Ugh !

The pox on all dumb coders.

P.S For those not familiar with Tamil, kolaveri is loosely translated as murderous rage. If you are still wondering about my question, then you may be a fossil and ought to listen to this song !

Thus spake Ravi

In my previous post on His Master's Voice, I speculated that "the LP nut", Ravi, would have an interesting comment. Instead I got a full post from him, written in his inimitable style. A classic, a collector's item and a passionate and wonderfully written piece. Here it is, as he wrote it.

The LP was not invented in 1902.  At that time, the most common form of recorded sound was the shellac record that ran for 3 ½ minutes on each side. Shellac was easy to  mould but could break very easily.  It was spun at 78rpm on mechanical players. You turned a spindle to wind up the plate on which the record rested, and a little speaker connected to the pick up converted the markings on the record to sound using mechanical conversion.  The first medium for recorded sound was the wax cylinder, which was invented by Edison in the late 19^th century. There was no plate, but a spindle on which a wax cylinder was fixed.  Reproduction was mechanical. 

Electrical recording and reproduction soon followed, once Lee Deforest invented the triode in the 1920s that made amplification of current possible. It was possible to record sound from a microphone, amplify it, then use it to drive a cutting lathe that could precisely carve out grooves in a record.  Then an electrically powered motor that could run at a precise 78rpm could power a record player that picked up the grooves using a stylus that generated electrical currents from the arm. Glowing valves in an amplifier then converted scratchy shellac sound into music that could be played at louder volumes in drawing rooms.

America in the 1920s saw an explosion of electrical entertainment. Movies were becoming a very popular form of entertainment, and the problem arose as to how to have music accompany the action.  Western Electric pioneered a slightly longer version of the 78rpm record that could play for 10 minutes that coincided with the playing time of a normal movie reel. Every time the reel changed, the movie operator would change the disc.

Around the same time, radio was mushrooming.  Recording a 78rpm disc was very simple and thousands of locally made discs in small towns in the United States received airtime on the many hundreds of radio stations that dotted the country.  Singers and bands came out in their multitude. Regional and national popularity began to develop. Separately, though, people like David Sarnoff (the founder of RCA) started to consolidate radio stations to ensure uniform programming as well as to create the reach for national advertising. A mechanism was needed to distribute radio-plays that could be relayed across all stations in a network.  Thus was born the Radio Transcription Disc, which could hold 20 minutes of programming on both sides, with an ad break for the side changeover.  Surprisingly these discs survived until the 1980s.

The next innovation was to find some medium that was not as brittle as shellac. As artists began to become popular outside their local areas, there was demand to play their music.  Shellac records broke when sent by post to radio stations.  Enter vinyl – a form of plastic that was more stable and durable, and could also be etched with a finer lathe to hold more programming.

The availability of a stable medium that could be recorded using fine cutting lathes and the desire to listen to longer program music could only lead to one thing. The first Long Play Record was made in 1945 by Columbia Records under a team lead by Howard Scott (who died last year, mourned by yours truly).  This could hold 20 minutes of programming on each side.  The first LP released was of the incomparable Nathan Milstein and the New York Philharmonic (conducted by Bruno Walter) playing Mendelssohn’s Violin Concerto in E Minor. You can listen to a later recording by Nathan Milstein here.

Stereo recordings followed very quickly (based on technology incubated at Bell Laboratories).  Magnetic tape had been invented in the Second World War - it became the norm for recording music. You no longer needed to cut the disc while recording was in progress in studios. Instead, one could set up a performance in great auditoria that had excellent acoustics and reproduce them on equipment that could come close to the concert hall effect in the drawing room.

In particular, I would mention two great sets of releases. One was Mercury Living Presence.  The second was RCA Living Stereo.  Both had gifted recording engineers.  The Mercury team was lead by Robert Fine, and a lot of their recordings were made at the Watford Town Hall just outside London using Telefunken microphones and Ampex 3-inch tapes.  RCA was lead by John Pfeiffer as producer and Lewis Layton as engineer, and they were ambitious enough to attempt to record a performance live.  The competition between Mercury and RCA produced some stunning recordings, some of which survive today as reference recordings of a piece by any artist anywhere.   LP technology continued to evolve. HMV, Decca, Deutsche Grammaphon and French labels produced records of great quality.  DG in particular, after the War, commissioned a History of Western Music series intended for libraries.  Beautiful recordings of early European masters, not just Bach but those who defined early European music were made by DG under the Arkhiv label. I used to pick them up second-hand in Rue de Chine in Paris for 2 euros apiece!

The advent of tapes and then CDs sounded the death-knell for LPs. Once MP3 players and iTunes got into the game, music purchase from retail outlets was doomed.  The ease with which music could be copied could easily have meant the death of the impulse to create. But in the last ten years vinyl has made a huge come back.  The LP format allowed an artist to experiment.  Anyone who loves the Beatles will agree with me that the B-side of Abbey Road is a masterpiece of symphonic proportions. Had the Beatles been forced to stick only to the singles format, this kind of music would not have been produced. In 2007 that poster-child for post-millennial artistic angst, Amy Black, released her iconic “Back to Black” album on CD and Vinyl.  She died of a drug overdose the next year at the young age of 21.  In my view this album will go down as one of the great pieces of music to be produced in these times and the album itself is a rumination on her young and confused life.  It is frighteningly mature. The format produced the impulse to express oneself in extended fashion.

But that is possible with the CD as well, I hear you say. Fair enough – but the CD came in as a mechanism to record two full sides of an LP on a single disk.  The LP format pervaded the CD at the start at least.  And its not that the single did not exist in the days gone by – indeed, the 45rpm disc which could hold two songs one on each side made its appearance in the 1940s and until the 1980s, was how a song became popular amongst young people. These could also be played in cars with the central perforated disc punched out, and one slid them in like you slide in a CD in a car stereo. The first CDs were pretty bad. But as sampling techniques improved, sound quality improved.  Some of the CDs today are fabulous.  Indeed, in 1991, Wilma Cozart Fine – the widow of Robert Fine of Mercury fame – took the set of old magtapes of the Mercury recordings to Philips and persuaded them to use the finest sampling techniques to encode a set of CDs with the same original sound of the LPs. The effects were astonishing.

Sound quality and musical reproduction are subjective. As a lifelong audiophile I do not seek to denigrate anyone who relies on a high street Sanyo for their musical needs because music has to sound good to you. There is no other test. But some of us are cursed with hearing that is a little more acute – if that’s the word – that can recognize the tonal quality, the separation of musical instruments when a recording is played, the “sound stage” – i.e. the effect of actually being to hear different instruments in their spatial locations in the recording room when the performance is played back in a drawing room.  All this will sound like pseud-talk and I can well understand that.  These warped individuals will think nothing of investing thousands of dollars in equipment that can improve the sound quality just that one little bit.

Late at night, with wife and daughter asleep and their doors closed, I remove two LPs from my collection.  I clean them on my VPi Vacuum Record Cleaner.  The system has been on for a couple of hours playing music softly to warm it up. What is it today? “Waltz for Debby”, by the Bill Evans Trio consisting of Bill Evans on the piano, Scott LaFaro on bass and Paul Motian on drums, recorded in July 1961on the Riverside label at the Village Vanguard in New York just a few days before Scott LaFaro tragically died in a car crash?  Or will it be “Pieces de Viole” composed by M. Demachy in 1685 and performed by Jordi Savall and recorded on the French audiophile label Astree in 1978?  I pick Bill.  I mount the record on the Linn Sondek turntable.  I switch the Classe Audio pre-amplifier to LP pickup, and release the arm on the LP.  The sound travels through special cables to the phono stage, from there to the pre-amp, and then through a shielded cable to the Classe Audio power amp.  The power amp gives it a powerful boost and sends the signal to the pair of beautiful Bowers and Wilkins 802Ds.  I sit back on the sofa and read the sleeve notes for the hundredth time as the first notes of the piano lead enters my presence.  I am back at the Village Vanguard Club on July 25^th 1961. I sip my brandy and lose myself.

Bye Bye Nipper

To my generation, Nipper is an old treasured friend. Nipper is the dog you see on that immortal brand logo of His Master's Voice, better known as HMV. Most of us , in the good old days, owned a HMV Radio and certainly bought a few HMV records - or at least one or two, for the money would stretch only so much those days. In India, until Television really came to the country along with the Asian Games of 1982, HMV radio was the prime entertainment medium of the land. HMV has now gone into receivership and , I'm afraid Nipper will now be consigned to a dusty shelf in some museum.

Nipper, was Mark Barraud's dog and lived in the late 1800s in Bristol in England. On his death, a sorrowful Barnard painted the famous picture of Nipper listening to a gramophone with a puzzled expression and sold it to the Gramophone company. A marketing genius there called William Owen made it the logo of the business and thus was the immortal His Master's Voice born.

The Gramophone Company started sometime in 1902 manufacturing and selling LP records. In 1921 they started their first musical store, in London's iconic Oxford Street. In the 1930s they started making radios and the later televisions as the music and entertainment industry took off. They opened a number of music stores all across the UK. While their music stores were chiefly in the UK, their radios found their way all across the world, or at least in the British Commonwealth. The picture of a family huddled next to the HMV Radio  and amidst the crackle and the hiss, coming those famous words This is London and then the Lillibulero, was the classic picture in many parts of the world a  while ago.

Many of us, from a certain generation , who have had the opportunity to travel to the UK, will fondly remember browsing through the HMV store on Oxford Street. Maybe not to buy, but wandering around the store was one of the pleasures of life.  The last time I went there was 4 months ago, ducking into the store on a cold and rainy evening.

As music, increasingly became digital, and online, HMV was bound to fail. Its time in sun was over. Who buys records anymore ? And even if we did, who buys from a music store - we order it on line. Or more likely, we listen to our choices online for free and never buy anything. HMV struggled for many years and at last early this year went into receivership. His Master's Voice had been stilled. I fancy Nipper stirred in his grave.

Well, all we can do is shed a tear for Nipper. And ruminate that not too distant in the future, a blogger might write a post wistfully remembering the days of Napster or that the great musicians of the age had their own site on MySpace !

As I conclude this post, I marvel at the crappy post on nostalgia I wrote not so long ago. I must have been punch drunk when I wrote that !!

Farewell good friend Nipper.  Yelp Yelp !

The economics of an election

My state is coming into election time. The politics of it - who will win; who will lose, etc is beyond the purview of this blog. But this blog will certainly muse on the economics behind it.

I am foxed as to why anybody wants to stand for any election - for the economics behind this is akin to a Las Vegas casino. On a conservative estimate, each candidate would spend about Rs 15 crores in each assembly seat ( see this speech as evidence of such numbers). More than three quarters of it is not for campaigning, but to bribe the voters (shame on you and me). Traditionally it used to be just cash and liquor.  But apparently now even water drums, watches, sarees and T shirts feature, as evidenced by this photograph and this article from The Hindu today.

The number of assembly constituencies in Karnataka is 224. There are four political formations in the fray. So that makes for 900 serious candidates. At Rs 15 crores per candidate, that amounts to an expenditure of Rs 13,500 crores .  Karnataka's GDP is about Rs 4,60,000 crores. So, something like 3% of GDP will be spent by candidates - that by any stretch of imagination is a staggering sum.

As JP Narayan, says in the video I refer to earlier, you have to spend this money to stand a chance. Spending it does not guarantee victory, but not spending it guarantees defeat. So, if you stand, you have to spend.

Consider for a moment, the ability to have a sum of Rs 13500 crores created for spending. Since much of the spending is illegal, the money has also to be generated by questionable means. It is actually not so easy to siphon away 3% of GDP - even corruption has its limits. Add the problem of keeping Rs 13500 crores in cash. If it is all packed in Rs 500 notes, each crore weighs 34 kgs. So Rs 13,500 crores weighs 460 tonnes - that is 46 lorry loads. You can't brazenly transport 46 lorry loads around - some will be stolen, some will be seized by the Election Commission officials, etc etc. And consider the logistics of buying so much liquor (and water drums). Its a mammoth logistics exercise and all has to be done surreptitiously.

And there can be only one winner in each constituency. What about the three blokes who lost. They have washed Rs 45 crores down the drain. They will virtually be bankrupted, for there is no way to earn it back until the next elections and , even then, only if they win. For the winner, he has to recoup a decent return on his investment - let us say he must make Rs 60 crores - to recoup a return on his investment and to create the capital for the next election. That is also not easy -  each winner to make Rs 60 crores is not an easy task.  A few can make that, but for everybody to make this sort of an amount is a tall order, however brazen the corruption is. And this alone is not enough, for each of his hangers on wants to make money as well. 

If you put your money in a bank deposit you can make 50% in 5 years, virtually risk free. With a little more luck, in the stock market or in gold, you can double it in 5 years. So, why take such wild risks for relatively meager returns and the possibility of losing it all. Obviously economics is not the strong point of those who stand for elections.

Many of the citizens are disgusted with those who would like to be our elected representatives. The best way to give them a big knock on their head is to vote such that the government will fall every year and elections are needed. Three elections in three years is enough to bankrupt them all. And then, maybe fresh air will emerge.