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By:

Rashmi Kulkarni

23 March 2025 at 2:58:52 pm

Loss Aversion Is Why Your Good Idea Fails

Your upgrade is their loss until you prove otherwise. Last week, Rahul wrote about a simple truth: you’re not inheriting a business, you’re inheriting an equilibrium. This week, I want to talk about the most common reason that equilibrium fights back even when your idea is genuinely sensible. Here it is, in plain language: People don’t oppose improvement. They oppose loss disguised as improvement. When you step into a legacy MSME, most things are still manual, informal, relationship-driven....

Loss Aversion Is Why Your Good Idea Fails

Your upgrade is their loss until you prove otherwise. Last week, Rahul wrote about a simple truth: you’re not inheriting a business, you’re inheriting an equilibrium. This week, I want to talk about the most common reason that equilibrium fights back even when your idea is genuinely sensible. Here it is, in plain language: People don’t oppose improvement. They oppose loss disguised as improvement. When you step into a legacy MSME, most things are still manual, informal, relationship-driven. People have built their own ways of keeping work moving. It’s not perfect, but it’s familiar. When you introduce a new system, a new rule, a new “professional way,” you may be adding order but you’re also removing something  they were using to survive. And humans react more strongly to removals than additions. Behavioral economists Daniel Kahneman and Amos Tversky called this loss aversion where we feel losses more sharply than we feel gains. That’s why your promised “future benefit” struggles to compete with someone’s immediate fear. Which seat are you stepping into? Inherited seat:  People assume you’ll change things quickly to “prove yourself”. They brace for loss even before you speak. Hired seat:  People watch for hidden agendas: “New boss means new rules, new blame.” They protect themselves. Promoted seat:  Your peers worry the old friendship is now replaced by authority. They fear loss of comfort and access. Different seats, same emotion underneath: don’t take away what keeps me safe. Weighing Scale Think of an old kirana shop. The weighing scale may not be fancy, but it’s trusted. The shopkeeper has used it for years. Customers have seen it. Everyone has settled into that comfort. Now imagine someone walks in and says, “We’re upgrading your weighing scale. This is digital. More accurate. More modern.” Sounds good, right? But what does the shopkeeper hear ? “My customers might think the old scale was wrong.” (loss of trust) “I won’t be able to adjust for small realities.” (loss of flexibility) “If the digital scale shows something different, I’ll be accused.” (loss of safety) “This was my shop. Now someone else is deciding.” (loss of control) So even if the new scale is better, the shopkeeper will resist or accept it politely and quietly return to the old one when nobody is watching. That is exactly what happens in companies. Modernisation Pitch Most leaders pitch change like this: “We’ll become world-class.” “We’ll digitize.” “We’ll improve visibility.” “We’ll build a process-driven culture.” But for the listener, these are not benefits. These are threats, because they translate into losses: Visibility can mean exposure . Process can mean loss of discretion . Digitization can mean loss of speed  (at least initially). “Professional” can mean loss of status  for the old guard. So the person across the table is not debating your logic. They’re calculating their losses. Practical Way Watch what happens when you propose something simple like daily reporting. You say: “It’s just 10 minutes. Basic discipline.” They hear: “Daily reporting means daily scrutiny.” “If numbers dip, I will be questioned.” “If I show the truth, it will create conflict.” “If I don’t show the truth, I’ll be accused later.” In their mind, the safest response is: nod, agree, delay. Then you label them “resistant.” But they’re not resisting change. They’re resisting loss . Leader’s Job If you want adoption in an MSME, don’t sell modernization as “upgrade”. Sell it as protection . Instead of: “We need an ERP.” Try: “We need to stop money leakage and order confusion.” Instead of: “We need systems.” Try: “We need fewer customer escalations and less rework.” Instead of: “We need transparency.” Try: “We need fewer surprises at month-end.” This is not manipulation. This is translation. You’re speaking the language the system understands: risk, leakage, blame, customer loss, cash loss, fatigue. Field Test: Rewrite your pitch in loss-prevention language Pick one change you’re pushing this month. Now write two versions: Version A (your current pitch): What you normally say: upgrade, modern, efficiency, best practices. Version B (loss prevention pitch): Use this template: What are we losing today?  (money, time, customers, reputation, peace) Where is the leakage happening?  (handoffs, approvals, rework, vendor delays) What small protection will this change create? (fewer disputes, faster closure, less follow-up) What will not change?  (no layoffs, no humiliation, no sudden policing) What proof will we show in 2 weeks?  (one metric, one visible win) Now do one more important step: For your top 3 stakeholders, write the one loss they think they will face  if your change happens. Don’t argue with it. Just name it. Because once you name the fear, you can design around it. The close If you remember only one thing from this week, remember this: A “good idea” is not enough in a legacy MSME. People need to feel safe adopting it. You don’t have to dilute your standards. You just have to stop selling change like a TED talk and start selling it like a protection plan. Next week, we’ll deal with another invisible force that keeps companies stuck even when they agree with you: the status quo isn’t a baseline. It’s a competitor. (The writer is CEO of PPS Consulting, can be reached at rashmi@ppsconsulting.biz )

The Soul of Bharat on the Big Screen

Mumbai: April 4, 2025, my heart feels heavier than it ever has. The news hit me like a monsoon storm—Manoj Kumar, the towering legend of Bollywood, the man who painted patriotism across our screens, is no more. At 87, he slipped away at Mumbai’s Kokilaben Dhirubhai Ambani Hospital, leaving behind a reel of memories that flicker in my mind like a projector that won’t stop spinning. As a movie fan who grew up with his films, I’m not just mourning an actor—I’m grieving the loss of a piece of my soul, a piece of India itself. They called him "Bharat Kumar," and oh, how he earned that name.


I remember the first time I saw ‘Upkar’ (1967). I was a kid, sprawled on the living room floor, eyes glued to our old TV. Manoj ji played Bharat, the farmer who gave everything—his dreams, his love—for his country’s soil. That song, “Mere Desh Ki Dharti,” wasn’t just a tune; it was a heartbeat, pulsing with pride and sacrifice. I’d hum it walking to school, feeling like I, too, could be that noble, that selfless. He won a National Film Award for that one, and rightly so—it wasn’t acting; it was living.

Then there was ‘Shaheed’ (1965), where he brought Bhagat Singh back to life. I’d sit there, popcorn forgotten, as he roared defiance against the British, his eyes blazing with a fire that could’ve lit up the darkest colonial night. It wasn’t just a film—it was a revolution on celluloid, a call to remember the blood that bought our freedom. Manoj ji didn’t just play the martyr; he became him, and every time I watch it, I feel that lump in my throat, that sting in my eyes. It’s no wonder it snagged three National Awards—his passion was a gift to us all.


Oh, and ‘Purab Aur Paschim’ (1970)—how do I even begin? He directed and starred as Bharat again, this time wrestling with the clash of East and West, showing us the beauty of our roots while the world tried to pull us away. I’d laugh at Saira Banu’s antics, then choke up when Manoj ji stood tall, singing “Hai Preet Jahan Ki Reet Sada.” It was a blockbuster, sure, but it was more—it was a love letter to India, penned in his signature hand-over-face style. That move, mocked by some, was his shield, his quiet strength, and I adored it.

And who could forget ‘Roti Kapda Aur Makaan’ (1974)? He directed and starred as Bharat—again, because who else could?—tackling poverty, injustice, and the gut-wrenching struggle for the basics of life. I’d watch, fists clenched, as he fought for the everyman, his voice cracking with raw emotion. It wasn’t just a movie; it was a mirror to our society, a cry for change. Seven Filmfare Awards across his career, they say, but this one felt like it carried them all—his heart bled through every frame.


Then there’s ‘Kranti’ (1981), the epic that had me on the edge of my seat. Manoj ji as the freedom fighter, leading Dilip Kumar and Hema Malini through a storm of rebellion—it was grand, it was gritty, it was everything Bollywood could be. “Zindagi Ki Na Toote Ladi” still echoes in my ears, a reminder of the battles he fought on screen, battles that felt so real I’d dream of joining the fight. He didn’t just direct that film; he sculpted a monument to resilience, and I’d cheer like a fool every time he outsmarted the British.


As I sit here, flipping through these memories, I can’t help but feel cheated. Manoj Kumar wasn’t just an actor or director—he was family. Born Harikrishan Goswami in 1937, he carried the Partition’s scars from Abbottabad to Delhi, turning pain into purpose. He gave us over 50 films in a career spanning four decades, snagging the Padma Shri in 1992 and the Dadasaheb Phalke Award in 2015—honors that felt too small for a man who gave India its cinematic soul. His last role in ‘Jai Hind’ (1999) might’ve flopped, but it didn’t dim his light in my eyes.


I’d read how he met Bhagat Singh’s mother before ‘Shaheed’, seeking her blessing—can you imagine the weight of that? Or how PM Lal Bahadur Shastri urged him to make ‘Upkar’ after the 1965 war, handing him “Jai Jawan Jai Kisan” like a sacred torch? That’s who he was—a man who didn’t just entertain but carried a nation’s dreams.


Manoj ji, you weren’t just “Bharat Kumar” to me—you were the uncle who taught me pride, the friend who shared my anger, the poet who sang my hopes. Your films weren’t movies; they were my childhood, my rebellion, my tears. I’ll miss you like I miss the India you dreamed of—flawed, fierce, and forever ours. Rest in peace, sir. Om Shanti.

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