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DEAL ADVISORY MANAGER
Deal Advisory services include corporate restructuring and insolvency services, mergers, acquisi-
tions and divestitures, transaction support, capital market transactions, valuations and fairness
opinions, business planning and financial modeling.
The successful candidate will be required to lead Deal Advisory projects by managing engagement
deliverables, timelines and budgets. Key responsibilities include conducting independent business
reviews and working on complex restructuring and insolvency engagements in both the public and
private sectors. Additionally, the individual will be expected to assist with business development by
developing proposals, presentations, reports and effective business networking.
o MSc Corporate and International Finance or equivalent
o Certified Financial Analyst
o A minimum of five years' experience in relevant Deal Advisory services
o Excellent oral and written communication
o Strong people management and project management skills
o Excellent analytical skills and problem-solving ability
o Willingness to travel
A competitive compensation package will be offered to the successful candidate.
If you would like to join our dynamic team of professionals, please submit your resume on or before
February 19, 2016, addressed to:
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Applicants are also required to submit a copy of the
What a perfect Beyoncé song name:
Formation. All great pop involves peo-
ple acting in formation. So does all
great change. And while fans scream
that Beyoncé s a "queen" and "god-
dess," her core appeal really is as a
drill sergeant. With Beyoncé in com-
mand, greatness is scalable, achiev-
able, for the collective. Everyone waves
their hands to the same beat. Everyone
walks around like they have hot sauce
in their bag.
But in pop and in politics, "everyone"
is a loaded term. Stars as ubiquitous
as Beyoncé have haters, the "albino
alligators" who Formation informs us
she twirls upon. And in a more general
historical sense, "everyone" can be a
dangerous illusion that elevates one
point of view as universal while min-
imising others. Beyoncé gets all of this,
As a pop star, she surely wants to
have as broad a reach as possible. But
as an artist, she has a specific message,
born of a specific experience, mean-
ingful to specific people. Rather than
pretend otherwise, she s going to make
art about the tension implied by this
dynamic. She s going to show up to
Super Bowl with a phalanx of women
dressed as Black Panthers.
The poor guys of Coldplay, mean-
while, actually think they can work
solely at the level of the universal.
"Wherever you are, we re in this togeth-
er," Chris Martin cried out, early on,
last night. I don t want to diss that
intention, nor the take-home message
at the end: "Believe in Love." But from
their first hit, Yellow, to their recent
Holi-appropriating music video with
Beyoncé, to their pan-cultural rainbow
rally at Levi s Stadium last night, their
theme has only been about love to the
extent that it s been about how everyone
loves colours. It s music about being
awed by the blandest kind of harmony:
ROYGBIV, yeah yeah yeah!
Even at this level, universality s
unachievable. You could see it in the
staging: a legion of human Pikmin with
flower-pedal umbrellas, a youth orches-
tra s members playing tie-dyed violins,
and Coldplay in the middle of it all,
wearing white. One shouldn t politicise
this choice too much. If their set had
been the entirety of the halftime show---
15 minutes of Coldplay spewing medi-
ocrity from the centre of a world of
colours---the memory would have been
totally eclipsed by the Vine of Eli Man-
ning looking ambivalent (the music
wasn t going to save anyone because
the sound system was so shoddy---
maybe short-circuited by the woo
But once Beyoncé and Bruno Mars
showed up, discussions were inevitable.
Contrasts needed to be drawn.
Both Beyoncé and Bruno wore black.
They dressed the same as the people
they stood shoulder to shoulder with.
And then, before being interrupted by
a strange retrospective video about past
halftimes, they offered a reminder that
synchronised dancing can be the best
kind of spectacle there is---better than
Left Shark, better than a middle finger
to the camera, better than a crotch slide
There was no racial subtext to this,
just text. Mars s crew was B-boying.
Beyoncé s was channelling black radical
movements and Michael Jackson in
1993. These were displays of cultural
power coming from specific places,
with specific meanings. They were root-
ed in history, but obviously spoke to
In the short time since it arrived
online without warning the day before
the Super Bowl, Formation has already
generated a monograph s worth of writ-
ings about Beyoncé s choice to tie her
famous swagger explicitly (and hilar-
iously, and cleverly) to her race, gender,
and cultural heritage---to "Jackson Five
nostrils" and dates to Red Lobster.
The video features her on stoops and
in parking lots and in old-money New
Orleans drawing rooms, looking fly.
Everyone has the potential to appreciate
her infectious attitude, the song s
strange squeaky beat, and the video s
instantly iconic visuals.
But among the group of people she
is directly addressing, many say For-
mation feels like something more than
just a great pop song---it feels life-giving
and maybe even revolutionary.
But forgoing the universal also
involves risk, as Beyoncé surely knew.
The aggregating of social-media users
who find her totally humane imagery
"anti-police," or who hear a song about
a person s lived experience and reply
with the inanity of "all lives matter,"
has begun. So too has concern trolling
about her acclaim from people who ve
never connected to her music.
If you find Formation tuneless or
offensive, fine. Just don t go impugning
the motives of all the people in the
weeks to come walking down the street
in a very specific rhythm, internally
chanting "I slay." Beyoncé no longer
asks that everyone get in formation,
and that s why so many people probably
A lot of headlines today say that Bey-
oncé won the Super Bowl, and a lot of
memes are fixing on the moment
toward the end when she, Mars, and
Martin all sang together. It was meant
to be a beautiful sight, but it ended up
feeling awkward; Martin seemed weak,
pitiful, next to the two of them and
what they d just done. There are prob-
ably a lot of reasons for that perception.
One might be that he had pretended
to stand for everything, but actually
stood for very little. Beyoncé did not
make that mistake. (theatlantic.com)
Beyonce, left, with Coldplay lead singer Chris Martin at the 2016 Superbowl halftime show. AP PHOTO
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