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Cari Rumah Modern Termurah Sentul RumahCantikku.com adalah agen properti yang berkator di KATV Group, Saladin Square B-12, Jl. Margonda Raya No.39, Depok, Jawa Barat. KATV Group adalah group usaha di baah bendera PT Kiprah Tiga Rancang (KITIRAN), dimana core bisnisnya adalah Pengelolaan dan Advertising KATV (Televisi Kabel Kereta Api Eksekutif ), yaitu televisi hiburan bagi penumpang di atas kereta api eksekutif. Selain itu KITIRAN juga bergerak di bidang advertising untuk promosi luar ruang khusus stasiun-stadiuan dan promsoi di dalam kereta eksekutif dan kereta komuter (KRL). Cari Rumah Modern Termurah Sentul

Cari Rumah Modern Termurah Sentul salah satu devisi dari KATV Group untuk yang bergerak di bidang agen properti. Saat ini baru menawarkan properti-properti KATV Group yang ada di beberapa kota untuk dijual. Jadi properti yang ditawarkan adalah milik sendiri. Cari Rumah Modern Termurah Sentul

Cari Rumah Modern Termurah Sentul

Seringkali kita mendengar dari banyak teman, sahabat, saudara bahkan kita sendiri mengenai pengalaman dikecewakan oleh jasa sewa

Seringkali kita mendengar dari banyak teman, sahabat, saudara bahkan kita sendiri mengenai pengalaman dikecewakan oleh jasa sewa mobil di Semarang. Dan mungkin, sebagian besar informasi mengenai jasa rental mobil di Semarang tersebut diperoleh dari media online, atau iklan surat kabar. Melalui kedua media tersebut kemungkinan besar Anda tidak dapat mengetahui dengan pasti bagaimana track record pemberi jasa sewa mobil di Semarang yang Anda pesan. Ada sebagian yang mengeluh kondisi mobilnya jelek, AC tidak dingin, mobil sudah tua, jok nya banyak kecoa atau semutnya, dan sebagainya. Supaya itu tidak terjadi pada Anda, baca tips bagaimana memilih sewa mobil di Semarang.

Pada dasarnya, masing-masing konsumen telah memiliki standar yang berbeda dalam menilai kualitas jasa rental mobil di Semarang. Tingkat toleransi masing-masing penyewa mobil terhadap suatu ketidaknyamanan memang berbeda-beda. Hal ini telah menyebabkan penilaian akan harga sewa mobil di semarang menjadi relatif.

Tetapi apabila Anda termasuk salah satu konsumen yang mengharapkan layanan prima dari suatu jasa sewa mobil di Semarang, ada baiknya Anda tidak hanya mengutamakan harga yang murah. Mengapa? Karena meskipun tidak selalu, tetapi harga berkorelasi erat dengan pelayanan. Dengan kata lain, jangan mengharapkan Anda memperoleh pelayanan memuaskan bila Anda mengutamakan harga rental mobil di semarang yang paling murah. Silahkan cek teori berikut dalam dunia penjualan produk, “ono rego ono rupo”.

Owner jasa sewa mobil di semarang yang bertahan dengan harga menengah ke atas, bukannya tidak khawatir mereka kehilangan konsumen karena banyaknya persaingan harga dari perusahaan jasa sewa mobil lain. Tetapi biasanya mereka memilih bersikap demikian karena biaya yang dibutuhkan oleh owner jasa rental mobil di Semarang untuk melayani Anda dengan standar tinggi memang lebih mahal. Perawatan mobil yang lebih baik, uang jasa driver yang lebih baik, type mobil yang lebih tinggi, dan periode renew mobil yang lebih pendek.

Sehingga yang akan Anda peroleh dari jasa sewa mobil di semarang tersebut adalah: mobil-mobil dengan type menengah ke atas (Jika Toyota Avanza mulai dari type G, jika Old Xenia mulai dari type LI 1300 cc, jika New Xenia mulai dari type R deluxe 1300 cc, Ertiga mulai dari type GL, dan sebagainya), Full AC dingin, Full music dengan tape yang baik, tahun mobil maksimal 3 tahun ke belakang, dan driver-driver yang akan melayani Anda dengan baik karena mereka menyayangi pekerjaannya yang memberikan pendapatan yang baik bagi mereka. Untuk hal-hal tersebut lah Anda sudah selayaknya membayar lebih untuk jasa sewa mobil di semarang. Semestinya, rental mobil yang profesional akan bertanggung jawab apabila ada komplain dari customer/ penyewa. Apapun bentuk pertanggung jawaban tersebut dapat dikompromikan dengan penyewa.

Apabila anda membutuhkan jasa rental mobil untuk melayani dengan standar DIJAMIN memuaskan, Anda dapat menghubungi kontak JAWA Rental Mobil Semarang.

*Maaf, judul artikel ini telah dibuat sedemikian rupa supaya Anda tertarik membacanya. Terimakasih.

 

saco-indonesia.com, Saya ingin mengawali renungan kita kali ini dengan mengingatkan pada salah satu kisah kehidupan yang mungkin banyak tercecer di depan mata kita.

saco-indonesia.com, Saya ingin mengawali renungan kita kali ini dengan mengingatkan pada salah satu kisah kehidupan yang mungkin banyak tercecer di depan mata kita. Cerita ini tentang seorang kakek yang sederhana, hidup sebagai orang kampung yang bersahaja. Suatu sore, ia mendapati pohon pepaya di depan rumahnya telah berbuah. Walaupun hanya dua buah namun telah menguning dan siap dipanen. Ia berencana memetik buah itu di keesokan hari. Namun, tatkala pagi tiba, ia mendapati satu buah pepayanya hilang dicuri orang.

 

Kakek itu begitu bersedih, hingga istrinya merasa heran. “masak hanya karena sebuah pepaya saja engkau demikian murung” ujar sang istri.

“bukan itu yang aku sedihkan” jawab sang kakek, “aku kepikiran, betapa sulitnya orang itu mengambil pepaya kita. Ia harus sembunyi-sembunyi di tengah malam agar tidak ketahuan orang. Belum lagi mesti memanjatnya dengan susah payah untuk bisa memetiknya..”

“dari itu Bune” lanjut sang kakek, “saya akan pinjam tangga dan saya taruh di bawah pohon pepaya kita, mudah-mudahan ia datang kembali malam ini dan tidak akan kesulitan lagi mengambil yang satunya”.
Namun saat pagi kembali hadir, ia mendapati pepaya yang tinggal sebuah itu tetap ada beserta tangganya tanpa bergeser sedikitpun. Ia mencoba bersabar, dan berharap pencuri itu akan muncul lagi di malam ini. Namun di pagi berikutnya, tetap saja buah pepaya itu masih di tempatnya.

Di sore harinya, sang kakek kedatangan seorang tamu yang menenteng duah buah pepaya besar di tangannya. Ia belum pernah mengenal si tamu tersebut. Singkat cerita, setelah berbincang lama, saat hendak pamitan tamu itu dengan amat menyesal mengaku bahwa ialah yang telah mencuri pepayanya.

“Sebenarnya” kata sang tamu, “di malam berikutnya saya ingin mencuri buah pepaya yang tersisa. Namun saat saya menemukan ada tangga di sana, saya tersadarkan dan sejak itu saya bertekad untuk tidak mencuri lagi. Untuk itu, saya kembalikan pepaya Anda dan untuk menebus kesalahan saya, saya hadiahkan pepaya yang baru saya beli di pasar untuk Anda”.

Hikmah yang bisa diambil dari kisah inspirasi diatas, adalah tentang keikhlasan, kesabaran, kebajikan dan cara pandang positif terhadap kehidupan.

Mampukah kita tetap bersikap positif saat kita kehilangan sesuatu yang kita cintai dengan ikhlas mencari sisi baiknya serta melupakan sakitnya suatu “musibah”?

Sumber:Pengjian LDII(Liwon Maulana "galipat")

 

Imagine an elite professional services firm with a high-performing, workaholic culture. Everyone is expected to turn on a dime to serve a client, travel at a moment’s notice, and be available pretty much every evening and weekend. It can make for a grueling work life, but at the highest levels of accounting, law, investment banking and consulting firms, it is just the way things are.

Except for one dirty little secret: Some of the people ostensibly turning in those 80- or 90-hour workweeks, particularly men, may just be faking it.

Many of them were, at least, at one elite consulting firm studied by Erin Reid, a professor at Boston University’s Questrom School of Business. It’s impossible to know if what she learned at that unidentified consulting firm applies across the world of work more broadly. But her research, published in the academic journal Organization Science, offers a way to understand how the professional world differs between men and women, and some of the ways a hard-charging culture that emphasizes long hours above all can make some companies worse off.

Photo
 
Credit Peter Arkle

Ms. Reid interviewed more than 100 people in the American offices of a global consulting firm and had access to performance reviews and internal human resources documents. At the firm there was a strong culture around long hours and responding to clients promptly.

“When the client needs me to be somewhere, I just have to be there,” said one of the consultants Ms. Reid interviewed. “And if you can’t be there, it’s probably because you’ve got another client meeting at the same time. You know it’s tough to say I can’t be there because my son had a Cub Scout meeting.”

Some people fully embraced this culture and put in the long hours, and they tended to be top performers. Others openly pushed back against it, insisting upon lighter and more flexible work hours, or less travel; they were punished in their performance reviews.

The third group is most interesting. Some 31 percent of the men and 11 percent of the women whose records Ms. Reid examined managed to achieve the benefits of a more moderate work schedule without explicitly asking for it.

They made an effort to line up clients who were local, reducing the need for travel. When they skipped work to spend time with their children or spouse, they didn’t call attention to it. One team on which several members had small children agreed among themselves to cover for one another so that everyone could have more flexible hours.

A male junior manager described working to have repeat consulting engagements with a company near enough to his home that he could take care of it with day trips. “I try to head out by 5, get home at 5:30, have dinner, play with my daughter,” he said, adding that he generally kept weekend work down to two hours of catching up on email.

Despite the limited hours, he said: “I know what clients are expecting. So I deliver above that.” He received a high performance review and a promotion.

What is fascinating about the firm Ms. Reid studied is that these people, who in her terminology were “passing” as workaholics, received performance reviews that were as strong as their hyper-ambitious colleagues. For people who were good at faking it, there was no real damage done by their lighter workloads.

It calls to mind the episode of “Seinfeld” in which George Costanza leaves his car in the parking lot at Yankee Stadium, where he works, and gets a promotion because his boss sees the car and thinks he is getting to work earlier and staying later than anyone else. (The strategy goes awry for him, and is not recommended for any aspiring partners in a consulting firm.)

A second finding is that women, particularly those with young children, were much more likely to request greater flexibility through more formal means, such as returning from maternity leave with an explicitly reduced schedule. Men who requested a paternity leave seemed to be punished come review time, and so may have felt more need to take time to spend with their families through those unofficial methods.

The result of this is easy to see: Those specifically requesting a lighter workload, who were disproportionately women, suffered in their performance reviews; those who took a lighter workload more discreetly didn’t suffer. The maxim of “ask forgiveness, not permission” seemed to apply.

It would be dangerous to extrapolate too much from a study at one firm, but Ms. Reid said in an interview that since publishing a summary of her research in Harvard Business Review she has heard from people in a variety of industries describing the same dynamic.

High-octane professional service firms are that way for a reason, and no one would doubt that insane hours and lots of travel can be necessary if you’re a lawyer on the verge of a big trial, an accountant right before tax day or an investment banker advising on a huge merger.

But the fact that the consultants who quietly lightened their workload did just as well in their performance reviews as those who were truly working 80 or more hours a week suggests that in normal times, heavy workloads may be more about signaling devotion to a firm than really being more productive. The person working 80 hours isn’t necessarily serving clients any better than the person working 50.

In other words, maybe the real problem isn’t men faking greater devotion to their jobs. Maybe it’s that too many companies reward the wrong things, favoring the illusion of extraordinary effort over actual productivity.

Late in April, after Native American actors walked off in disgust from the set of Adam Sandler’s latest film, a western sendup that its distributor, Netflix, has defended as being equally offensive to all, a glow of pride spread through several Native American communities.

Tantoo Cardinal, a Canadian indigenous actress who played Black Shawl in “Dances With Wolves,” recalled thinking to herself, “It’s come.” Larry Sellers, who starred as Cloud Dancing in the 1990s television show “Dr. Quinn, Medicine Woman,” thought, “It’s about time.” Jesse Wente, who is Ojibwe and directs film programming at the TIFF Bell Lightbox in Toronto, found himself encouraged and surprised. There are so few film roles for indigenous actors, he said, that walking off the set of a major production showed real mettle.

But what didn’t surprise Mr. Wente was the content of the script. According to the actors who walked off the set, the film, titled “The Ridiculous Six,” included a Native American woman who passes out and is revived after white men douse her with alcohol, and another woman squatting to urinate while lighting a peace pipe. “There’s enough history at this point to have set some expectations around these sort of Hollywood depictions,” Mr. Wente said.

The walkout prompted a rhetorical “What do you expect from an Adam Sandler film?,” and a Netflix spokesman said that in the movie, blacks, Mexicans and whites were lampooned as well. But Native American actors and critics said a broader issue was at stake. While mainstream portrayals of native peoples have, Mr. Wente said, become “incrementally better” over the decades, he and others say, they remain far from accurate and reflect a lack of opportunities for Native American performers. What’s more, as Native Americans hunger for representation on screen, critics say the absence of three-dimensional portrayals has very real off-screen consequences.

“Our people are still healing from historical trauma,” said Loren Anthony, one of the actors who walked out. “Our youth are still trying to figure out who they are, where they fit in this society. Kids are killing themselves. They’re not proud of who they are.” They also don’t, he added, see themselves on prime time television or the big screen. Netflix noted while about five people walked off the “The Ridiculous Six” set, 100 or so Native American actors and extras stayed.

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But in interviews, nearly a dozen Native American actors and film industry experts said that Mr. Sandler’s humor perpetuated decades-old negative stereotypes. Mr. Anthony said such depictions helped feed the despondency many Native Americans feel, with deadly results: Native Americans have the highest suicide rate out of all the country’s ethnicities.

The on-screen problem is twofold, Mr. Anthony and others said: There’s a paucity of roles for Native Americans — according to the Screen Actors Guild in 2008 they accounted for 0.3 percent of all on-screen parts (those figures have yet to be updated), compared to about 2 percent of the general population — and Native American actors are often perceived in a narrow way.

In his Peabody Award-winning documentary “Reel Injun,” the Cree filmmaker Neil Diamond explored Hollywood depictions of Native Americans over the years, and found they fell into a few stereotypical categories: the Noble Savage, the Drunk Indian, the Mystic, the Indian Princess, the backward tribal people futilely fighting John Wayne and manifest destiny. While the 1990 film “Dances With Wolves” won praise for depicting Native Americans as fully fleshed out human beings, not all indigenous people embraced it. It was still told, critics said, from the colonialists’ point of view. In an interview, John Trudell, a Santee Sioux writer, actor (“Thunderheart”) and the former chairman of the American Indian Movement, described the film as “a story of two white people.”

“God bless ‘Dances with Wolves,’ ” Michael Horse, who played Deputy Hawk in “Twin Peaks,” said sarcastically. “Even ‘Avatar.’ Someone’s got to come save the tribal people.”

Dan Spilo, a partner at Industry Entertainment who represents Adam Beach, one of today’s most prominent Native American actors, said while typecasting dogs many minorities, it is especially intractable when it comes to Native Americans. Casting directors, he said, rarely cast them as police officers, doctors or lawyers. “There’s the belief that the Native American character should be on reservations or riding a horse,” he said.

“We don’t see ourselves,” Mr. Horse said. “We’re still an antiquated culture to them, and to the rest of the world.”

Ms. Cardinal said she was once turned down for the role of the wife of a child-abusing cop because the filmmakers felt that casting her would somehow be “too political.”

Another sore point is the long run of white actors playing American Indians, among them Burt Lancaster, Rock Hudson, Audrey Hepburn and, more recently, Johnny Depp, whose depiction of Tonto in the 2013 film “Lone Ranger,” was viewed as racist by detractors. There are, of course, exceptions. The former A&E series “Longmire,” which, as it happens, will now be on Netflix, was roundly praised for its depiction of life on a Northern Cheyenne reservation, with Lou Diamond Phillips, who is of Cherokee descent, playing a Northern Cheyenne man.

Others also point to the success of Mr. Beach, who played a Mohawk detective in “Law & Order: Special Victims Unit” and landed a starring role in the forthcoming D C Comics picture “Suicide Squad.” Mr. Beach said he had come across insulting scripts backed by people who don’t see anything wrong with them.

“I’d rather starve than do something that is offensive to my ancestral roots,” Mr. Beach said. “But I think there will always be attempts to drawn on the weakness of native people’s struggles. The savage Indian will always be the savage Indian. The white man will always be smarter and more cunning. The cavalry will always win.”

The solution, Mr. Wente, Mr. Trudell and others said, lies in getting more stories written by and starring Native Americans. But Mr. Wente noted that while independent indigenous film has blossomed in the last two decades, mainstream depictions have yet to catch up. “You have to stop expecting for Hollywood to correct it, because there seems to be no ability or desire to correct it,” Mr. Wente said.

There have been calls to boycott Netflix but, writing for Indian Country Today Media Network, which first broke news of the walk off, the filmmaker Brian Young noted that the distributor also offered a number of films by or about Native Americans.

The furor around “The Ridiculous Six” may drive more people to see it. Then one of the questions that Mr. Trudell, echoing others, had about the film will be answered: “Who the hell laughs at this stuff?”

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