Podcasts about Kami

Kita akan menyelami dunia "Data Story" – sebuah konsep revolusioner yang mengubah cara kita memandang dan menggunakan data. Lupakan grafik membosankan dan angka-angka yang rumit; Data Story adalah seni mengubah data mentah menjadi narasi yang hidup, mudah dipahami, dan yang paling penting, mampu menggerakkan hati dan pikiran audiens Anda. Bersiaplah untuk menemukan bagaimana penceritaan data bisa menjadi kunci untuk membuat keputusan yang lebih cerdas dan menginspirasi tindakan nyata. Dalam episode ini, kita akan membahas secara mendalam apa sebenarnya Data Story itu, mengapa ia menjadi sangat krusial di era informasi saat ini, dan bagaimana relevansinya terus meningkat seiring dengan pertumbuhan big data dan kecerdasan buatan. Kami akan mengupas tuntas mengapa otak manusia lebih mudah memproses cerita daripada sekadar fakta, dan bagaimana Anda bisa memanfaatkan kekuatan narasi ini untuk menyampaikan wawasan data dengan dampak maksimal. Ini bukan hanya tentang presentasi yang indah, tapi tentang komunikasi yang berempati dan strategis. Dengarkan episode ini untuk mendapatkan panduan praktis tentang cara membangun Data Story yang efektif. Kita akan membahas mulai dari memahami audiens Anda, merumuskan "Data Point of View" yang kuat, menyusun ringkasan eksekutif dalam struktur tiga babak ala cerita, hingga memilih visualisasi data yang tepat dan menghumanisasi angka-angka. Temukan bagaimana Anda bisa menjadi pencerita data yang ulung, mengubah wawasan menjadi inspirasi, dan mendorong perubahan positif di organisasi atau komunitas Anda. Jangan lewatkan episode yang penuh wawasan ini!

Dalam episode terbaru INIKOPER Podcast, kami menyelami fenomena "Slidedoc" – sebuah format komunikasi revolusioner yang menjembatani kesenjangan antara dokumen tradisional yang padat dan presentasi visual yang ringkas. Kami akan membahas bagaimana Slidedoc, yang dibuat menggunakan perangkat lunak presentasi namun dirancang untuk dibaca mandiri, memungkinkan visual dan teks bersatu untuk menyampaikan satu poin jelas per halaman, menjadikannya medium yang lebih cepat dicerna dan mudah dijadikan referensi di era digital ini. Kami akan mengulas mengapa Slidedoc menjadi sangat relevan di tengah perubahan kebiasaan konsumsi informasi yang serba cepat. Dari kemampuannya untuk mendukung percakapan yang terinformasi dengan mendistribusikan materi pra-rapat, hingga fleksibilitasnya dalam menyebarkan ide-ide besar secara efisien ke seluruh organisasi, Slidedoc terbukti menjadi alat komunikasi yang tak ternilai. Kami juga akan membahas bagaimana format ini memanfaatkan kekuatan perangkat lunak presentasi untuk menciptakan dokumen visual yang menarik dan mudah dibagikan. Dengarkan episode ini untuk memahami langkah-langkah kunci dalam membuat Slidedoc yang efektif, mulai dari penulisan konten yang ringkas dan terstruktur hingga prinsip-prinsip desain visual yang menyatukan. Kami juga akan berbagi tips praktis tentang berbagai cara menggunakan Slidedoc, baik sebagai pra-bacaan, materi tindak lanjut, referensi, atau untuk distribusi online dan webinar. Jangan lewatkan kesempatan untuk menguasai alat komunikasi modern ini dan menyebarkan ide-ide Anda dengan lebih cepat dan berdampak!

Kościół powinien być apolityczny, ale to naiwne nadzieje - ocenili w "Expressie Biedrzyckiej" publicyści - Karolina Opolska i Patryk Michalski. Dodali, że duchowni liczą na powrót PiS-u do władzy, gdyż ten przez lata dawał im potężne zastrzyki gotówki. Co dzieje się z Michałem Kamińskim? Polityk podobno nie odbiera telefonów, a jedyną osobą, która ma z nim kontakt, jest Waldemar Pawlak. Czy Kamiński wróci na łono PiS? Czy kierownictwo PiS - patrząc na obecną burzę wokół spotkania u Adama Bielana - otwiera popcorn? Andrzej Duda kończy tak, jak zaczynał - ocenili Karolina Opolska i Patryk Michalski. O bezradności służb wobec Roberta Bąkiewicza oraz Grzegorza Brauna, a także o ogromnych pieniądzach z UE dla Polski i rekonstrukcji rządu - w najnowszym odcinku!

Selamat datang di INIKOPER, podcast yang mengupas tuntas isu-isu penting seputar dunia kerja dan pengembangan diri! Episode kali ini akan membawa Anda menyelami pembahasan mendalam tentang bagaimana nilai-nilai pribadi dan perusahaan menjadi fondasi utama dalam membentuk budaya organisasi yang kuat dan bermakna. Kami akan membahas mengapa budaya perusahaan bukan sekadar slogan di dinding, melainkan cerminan dari setiap keputusan dan tindakan individu di dalamnya. Dalam episode ini, kami menyoroti pentingnya "kalibrasi nilai" yang berkelanjutan. Anda akan memahami mengapa perusahaan besar bisa goyah akibat pilihan individu yang mengabaikan nilai fundamental, dan bagaimana proses rekrutmen yang cerdas dapat menggali nilai-nilai inti calon karyawan. Kami juga akan memperkenalkan konsep inovatif "Momen Nilai"—sebuah praktik sederhana namun powerful untuk memperkuat nilai-nilai perusahaan dalam aktivitas sehari-hari. Jangan lewatkan wawasan berharga tentang bagaimana Anda, sebagai individu maupun pemimpin, dapat berkontribusi dalam membangun budaya perusahaan yang otentik dan berdampak. Dengarkan INIKOPER sekarang dan temukan kunci untuk menciptakan lingkungan kerja yang tidak hanya produktif, tetapi juga dipenuhi integritas dan makna!

Selamat datang di INIKOPER, podcast yang menyelami dunia investasi yang melampaui keuntungan finansial! Episode kali ini, kami membahas secara mendalam tentang Investasi Berdampak (Impact Investment) — sebuah strategi yang bertujuan untuk menghasilkan dampak sosial dan lingkungan yang positif dan terukur, di samping keuntungan finansial. Kami akan menguraikan karakteristik utama dari investasi berdampak, mulai dari niat yang jelas untuk menciptakan dampak, penggunaan modal swasta, hingga komitmen terhadap pengukuran dampak. Jelajahi bersama kami bagaimana investor kini dapat menyelaraskan nilai-nilai mereka dengan tujuan finansial, menciptakan perubahan nyata di dunia. Dalam episode ini, kami juga mengupas tuntas proses investasi berdampak, mulai dari identifikasi dan penyaringan peluang yang selaras dengan misi hingga analisis investasi yang cermat, uji tuntas (due diligence), dan penataan investasi. Pentingnya mengintegrasikan pertimbangan dampak sosial di setiap tahap proses ini akan kami soroti, memastikan bahwa setiap keputusan investasi tidak hanya menguntungkan secara finansial, tetapi juga memberikan kontribusi yang berarti. Kami juga akan membahas berbagai struktur investasi seperti utang, ekuitas, dan utang konversi, serta metodologi penilaian seperti arus kas terdiskonto (DCF), penilaian relatif, dan biaya modal yang relevan dalam konteksi investasi berdampak. Tidak hanya itu, kami juga akan mengeksplorasi tantangan dan kritik yang dihadapi industri investasi berdampak, termasuk masalah kelangkaan peluang berkualitas, valuasi yang kompleks, skalabilitas, dan risiko regulasi. Kami akan membahas pentingnya pemantauan pasca-investasi, manajemen, dan pembangunan nilai, termasuk pelaporan keuangan dan sosial untuk memastikan dampak yang berkelanjutan. Terakhir, kami akan melihat struktur dan ekonomi dana investasi berdampak, termasuk kompensasi dan tolok ukur kinerja, serta mensintesis pandangan tentang arah masa depan investasi berdampak. Mari bergabung dengan kami di INIKOPER untuk memahami lebih lanjut bagaimana Anda dapat menjadi bagian dari gerakan yang membentuk masa depan yang lebih baik.

Selamat datang di INIKOPER, podcast yang mengupas tuntas isu-isu penting seputar dunia kerja dan pengembangan diri! Episode kali ini akan membawa Anda menyelami pembahasan mendalam tentang Transisi Masyarakat Pasca Industridan bagaimana pergeseran ini membentuk masa depan kita. Kami akan membahas konsep-konsep kunci seperti Masyarakat Pasca-Industri dan visi Cyral-Spiriterial yang menawarkan keseimbangan antara kemajuan material dan spiritual, serta harmonisasi kota-desa. Dalam episode ini, kami akan menelusuri mengapa pergeseran ini menjadi keharusan, menyoroti dampak negatif era industri yang berujung pada materialisme mendalam, kerusakan lingkungan global, hingga kekosongan batin. Kami juga akan membahas berbagai tantangan dan kontradiksi dalam mewujudkan masyarakat pasca-industri, mulai dari kesenjangan digital hingga kesulitan mencapai keseimbangan spiritual di tengah modernitas. Namun, kami juga akan mengeksplorasi pilar-pilar penting dalam visi Cyral-Spiriterial seperti The Purpose Generation, revitalisasi desa, Gommunity, Humture, dan Socent yang menawarkan solusi inovatif. Jangan lewatkan wawasan berharga tentang bagaimana berbagai negara menghadapi transisi ini dan bagaimana inisiatif lokal seperti Spedagi Movement di Indonesia menjadi model nyata dalam mewujudkan Masyarakat Pasca-Industri yang berkelanjutan. Dengarkan INIKOPER sekarang dan temukan kunci untuk beradaptasi, berinovasi, dan berkontribusi dalam membangun masa depan yang lebih seimbang dan bermakna!

— Michał Kamiński nie straci stanowiska, ma poparcie PSLu — ocenił w Expressie Biedrzyckiej analityk polityki, dr Jan Maria Jackowski. Jego zdaniem obecna sytuacja na granicy to efekt nieudolności rządu i problemów z komunikacją. — To przez to takie ruchy jak Bąkiewicza mogą funkcjonować — mówił. Jakim prezydentem będzie Karol Nawrocki? I dlaczego Tusk znalazł się w tarapatach? O tym w najnowszym odcinku! Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Czy Michał Kamiński powinien stracić stanowisko? Dlaczego państwo jest opieszałe ws. Roberta Bąkiewicza? Co dla bezpieczeństwa Polski oznacza nowy skład BBN? O tym – i nie tylko – Kamila Biedrzycka rozmawiała z generałem Mirosławem Różańskim – senatorem i przewodniczącym senackiej Komisji Obrony Narodowej. Więcej w najnowszym Expressie Biedrzyckiej! Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Dalam episode kali ni, kita ber empat kongsi sesuatu yang belum pernah kita ceritakan dan lepas tu, korang kena teka sama ada benda tu fakta atau auta.... amacam??? Ada berans???EPISODE KE-500 PUNYA PASAL! Kami bukan main-main… badan pun jangan dibiar main-main! Sempena pencapaian Manap & Mawi Podcast yang ke-500 episode, kami nak belanja DISCOUNT 10% untuk semua services di Untuk siapa promo ni? Pendengar setia Keluarga & kawan-kawan Yang tulang dah lama reput.Kenapa Bone Setting SG? Therapist power, bersemangat dan bukan jenis main tekan je Ramai dah reccomend, bukan acah-acah viral Service mesra pelanggan – siap senyum, tak marah kalau jerit sikit atau terkentutBook terus. Guna code: MANAPMAWI10 masa booking. Boleh share dengan geng yang asyik mengadu “lenguh tengkuk” tapi tak buat apa-apa ....

Gelombang penolakan terhadap Rancangan Kitab Undang-Undang Hukum Acara Pidana (RKUHAP) terus mengalir kencang. Di medsos, #TolakRKUHAP berkumandang, juga petisi daring change.org bertajuk "Tolak Revisi KUHAP Abal-Abal". Per Rabu (16/07) siang sudah 7.000-an warga menandatangani petisi tersebut.Terbaru, Koalisi Masyarakat Sipil untuk Pembaruan KUHAP membuat draf tandingan sebagai perlawanan terhadap pembahasan RKUHAP versi pemerintah-DPR yang dinilai penuh kejanggalan dan ugal-ugalan dalam proses penyusunannya. Semisal pembahasan Daftar Inventarisasi Masalah (DIM) RKUHAP sebanyak 1.676 poin yang rampung hanya dalam waktu dua hari. Proses kilat ini juga dikritik karena minim partisipasi publik.Koalisi menyoroti sejumlah masalah dalam RKUHAP seperti potensi menguatnya impunitas, pelemahan hak tersangka dan terdakwa, penyalahgunaan wewenang TNI/Polri serta langgengnya praktik korupsi.Jika RKUHAP yang bermasalah itu disahkan, maka sistem peradilan pidana dikhawatirkan bakal terus menjauh dari cita-cita ideal. Sudah banyak kasus ketidakadilan dampak dari praktik KUHAP sekarang, salah satunya di kasus Tragedi Kanjuruhan.Ruang Publik KBR mengundang ibu salah satu korban Tragedi Kanjuruhan untuk bercerita. Kami juga mengundang Peneliti Institute for Criminal Justice Reform (ICJR) Iftitah Sari untuk berbincang tentang nasib pembahasan RKUHAP.Apakah mungkin menundanya? Mengapa pemerintah dan DPR terkesan ngotot mengebut RKUHAP? Jangan lewatkan obrolannya di Ruang Publik KBR

Di episode terbaru INIKOPER, kita akan menyelami rahasia di balik strategi komunikasi organisasi grantmaking yang tidak hanya efektif, tetapi juga berkelanjutan. Seringkali, tantangan terbesar bukanlah memulai, melainkan menjaga momentum dan memastikan pesan kita tetap relevan di tengah dinamika yang terus berubah. Kami akan membahas bagaimana organisasi dapat terus beresonansi dengan audiensnya, memastikan setiap upaya komunikasi memberikan dampak jangka panjang. Kami akan membedah pertanyaan krusial: Bagaimana Anda akan menjaga momentum dan memastikan strategi komunikasi Anda tetap relevan? Bagaimana Anda mengintegrasikan pembelajaran dan umpan balik dari setiap inisiatif untuk terus berkembang? Dan, dukungan jangka panjang seperti apa yang sebenarnya Anda butuhkan untuk mempertahankan komunikasi yang kuat dan berdampak? Episode ini akan memberikan kerangka berpikir untuk menjawab pertanyaan-pertanyaan fundamental ini. Bayangkan jika strategi komunikasi Anda adalah sebuah pohon yang terus tumbuh dan berbuah lebat—bagaimana Anda akan menyiraminya agar selalu subur, bahkan di musim paling kering sekalipun? Atau, jika Anda telah menciptakan warisan komunikasi yang tak lekang oleh waktu, prinsip abadi apa yang akan Anda wariskan kepada generasi berikutnya? Dengarkan INIKOPER sekarang untuk menemukan inspirasi dan langkah-langkah konkret dalam membangun komunikasi yang tak hanya efektif, tetapi juga abadi.

Selamat datang di INIKOPER, podcast yang akan mengubah cara Anda berkomunikasi! Episode kali ini membahas tuntas "Presensertasi: Seni Presentasi yang Memukau dan Berdampak." Kami akan mengupas mengapa kemampuan presentasi yang efektif sangat vital, terutama bagi para eksekutif dan profesional. Lebih dari sekadar berbicara di depan umum, Presensertasi adalah tentang bagaimana ide Anda tidak hanya disampaikan, tetapi juga tersertifikasi dan melekat kuat di benak audiens. Di episode ini, Anda akan menyelami berbagai konsep inspiratif yang telah teruji. Kami akan membahas prinsip-prinsip dari pakar seperti Nancy Duarte dengan Slide:ology dan Resonate-nya yang fokus pada narasi visual, hingga gaya presentasi ikonik Steve Jobs yang mengedepankan kesederhanaan dan koneksi emosional. Tak ketinggalan, kami juga akan mengeksplorasi esensi TED Talks dalam menyampaikan ide brilian secara ringkas, serta format Pecha Kucha yang menantang kreativitas dalam batasan waktu. Bersiaplah untuk mendapatkan wawasan tentang bagaimana merancang pesan yang kuat, mendesain slide yang memukau, dan menguasai teknik penyampaian yang autentik. Dengarkan INIKOPER sekarang dan temukan rahasia di balik presentasi yang tidak hanya informatif, tetapi juga mengubah pandangan dan mendorong tindakan. Pelajari cara mengelola kecemasan, mengoptimalkan vokal dan bahasa tubuh Anda, serta teknik jitu untuk memulai dan mengakhiri presentasi dengan kesan mendalam. Kami juga akan membahas bagaimana Anda bisa menangani pertanyaan sulit dan menjadikan sesi umpan balik sebagai alat untuk terus berkembang. Jangan lewatkan episode ini jika Anda ingin meningkatkan kemampuan komunikasi dan meninggalkan jejak yang kuat dalam setiap presentasi Anda!

— Kaczyński ma szerszy plan, Bąkiewicza karmił przez lata — mówił w Expressie Biedrzyckiej europoseł Dariusz Joński z KO. Grzegorza Brauna wprost nazwał „patologią” i ocenił, że jego miejsce jest w więzieniu. Joński zastanawiał się też, co dzieje się z Michałem Kamińskim i czy ten planuje wielki powrót do PiS… Więcej w najnowszym odcinku! Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Czy Polska 2050 zniknie ze sceny politycznej? W co grał Michał Kamiński na spotkaniu u Adama Bielana? I czy nowy rzecznik rządu radzi sobie z komunikacją? O tym – i nie tylko – Kamila Biedrzycka rozmawiała z prof. Tomaszem Słomką z UW. Zapraszamy na najnowszy odcinek Expressu Biedrzyckiej! Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Merasa lelah karena harus punya semua jawaban? Di episode terbaru INIKOPER, kita akan membongkar sebuah kebiasaan yang bisa mengubah cara Anda memimpin selamanya. Lupakan peran sebagai "pemberi nasihat" yang melelahkan, dan mulailah menjadi pemimpin yang memberdayakan dengan The Coaching Habit. Konsepnya sederhana: lebih sedikit bicara, lebih banyak bertanya. Kami akan membahas tujuh pertanyaan esensial yang bisa Anda praktikkan hanya dalam 10 menit untuk membantu tim Anda menemukan solusi mereka sendiri. Ini adalah cara jitu untuk memutus lingkaran ketergantungan, mengurangi beban kerja Anda, dan fokus pada pekerjaan yang benar-benar berdampak. Penasaran bagaimana cara kerjanya? Dengarkan episode lengkapnya di INIKOPER untuk menemukan rahasia di balik setiap pertanyaan dan cara menjadikannya kebiasaan baru Anda. Siap bekerja lebih sedikit dengan dampak lebih besar? Mari kita mulai.

Apakah model pengembangan masyarakat yang selama ini kita jalankan sudah usang? Di tengah tantangan yang semakin kompleks, pendekatan yang hanya mengandalkan bantuan dan subsidi pemerintah tidak lagi memadai untuk menciptakan perubahan yang berkelanjutan. Episode INIKOPER kali ini akan membahas sebuah gagasan revolusioner: "merekayasa ulang" cara kita membangun komunitas. Terinspirasi dari buku "Reengineering Community Development for the 21st Century," kita akan mengupas bagaimana pergeseran paradigma ini bisa menjadi kunci untuk menciptakan pembangunan yang lebih dinamis, berbasis pasar, dan berdampak nyata. Kita akan menyelami tiga pilar utama dari rekayasa ulang ini. Pertama, evolusi lembaga keuangan komunitas yang harus bergerak dari ketergantungan pada hibah menjadi mitra strategis yang cerdas bagi sektor swasta. Kedua, kita akan membahas mengapa fokus harus beralih dari sekadar "bantuan pendapatan" ke "pembangunan aset"—seperti rumah, tabungan, dan pendidikan—sebagai fondasi sejati kemandirian ekonomi. Terakhir, yang tak kalah penting, adalah bagaimana pembangunan kapasitas dan keterlibatan otentik warga menjadi kunci keberlanjutan setiap program, mengubah mereka dari objek menjadi aktor utama pembangunan. Episode ini bukan sekadar diskusi teoretis. Kami akan menerjemahkan konsep-konsep global ini menjadi langkah-langkah praktis yang bisa diterapkan di tingkat lapangan oleh para penggerak koperasi, organisasi masyarakat, dan pemerintah daerah di Indonesia. Bagaimana kita bisa mulai menerapkan prinsip-prinsip ini di komunitas kita sendiri? Dengarkan pembahasan lengkapnya hanya di podcast INIKOPER untuk menemukan jawabannya dan menjadi bagian dari gerakan pembangunan masyarakat abad ke-21.

Pernahkah Anda bertanya-tanya apa rahasia di balik kesuksesan para pemimpin wanita di puncak karier mereka? Dalam episode terbaru INIKOPER, kita akan membongkar pelajaran berharga dari buku "Strong Suit" karya Deb Boelkes. Kami merangkum wawasan mendalam dari para CEO dan pemimpin perempuan yang telah membuktikan bahwa kepemimpinan sejati tidak datang dari buku teks, melainkan dari pengalaman, ketahanan, dan pemahaman mendalam tentang diri sendiri. Siapkan diri Anda untuk mendapatkan inspirasi praktis yang bisa langsung diterapkan dalam perjalanan karier dan kehidupan pribadi Anda. Episode kali ini akan membahas konsep-konsep kunci yang mengubah cara pandang kita terhadap kepemimpinan. Temukan apa itu "kekuatan super" Anda dan bagaimana memanfaatkannya untuk memberikan energi, sekaligus mengenali "kryptonite" yang menguras tenaga Anda. Kita juga akan belajar bahwa kesalahan bukanlah akhir dari segalanya, melainkan fondasi untuk bangkit lebih kuat, serta bagaimana menciptakan "harmoni" antara kehidupan kerja dan pribadi, bukan sekadar keseimbangan yang mustahil dicapai. Semua ini disajikan melalui ilustrasi nyata dari para wanita yang telah menaklukkan tantangan di dunia korporat, militer, dan lainnya. Jadi, jika Anda ingin membangun brand pribadi yang otentik, belajar menginvestasikan waktu pada tim Anda secara efektif, dan memimpin dengan hati, jangan lewatkan episode ini. Mari kita belajar bersama bagaimana mengubah tantangan menjadi peluang dan memimpin dengan cara yang paling autentik bagi diri kita. Dengarkan episode terbaru INIKOPER sekarang di platform podcast favorit Anda!

Pernahkah Anda merasa memiliki banyak ide cemerlang namun bingung bagaimana mengeksekusinya secara strategis untuk mencapai puncak karier? Dalam episode terbaru podcast INIKOPER, kami membedah buku inspiratif karya Beverly E. Jones, "Think Like an Entrepreneur, Act Like a CEO". Buku ini menawarkan sebuah resep ampuh: gabungkan kreativitas dan kejelian melihat peluang ala seorang wirausahawan dengan visi, disiplin, dan tanggung jawab seorang CEO. Episode ini akan membuka wawasan Anda tentang bagaimana mengubah pola pikir untuk tidak hanya bertahan, tetapi juga melesat maju di dunia kerja yang dinamis. Kami merangkum 50 kiat praktis dari buku ini menjadi strategi yang mudah Anda terapkan. Anda akan belajar bagaimana membangun "merek" kepemimpinan yang kuat, mengelola suara negatif di kepala Anda yang seringkali menghambat langkah, membangun disiplin diri yang kokoh, dan pentingnya merawat jaringan serta komunitas sebagai aset karier yang tak ternilai. Kami juga membahas mengapa merayakan kemenangan-kemenangan kecil dan fokus pada 20% aktivitas yang memberikan 80% hasil dapat menjadi kunci produktivitas Anda. Baik Anda seorang profesional, pemimpin koperasi, manajer, atau sedang merintis usaha, episode ini dirancang untuk Anda. Ini bukan sekadar ringkasan buku, melainkan panduan untuk mengadopsi pola pikir yang akan mengubah cara Anda bekerja dan memimpin. Dengarkan episode terbaru INIKOPER sekarang di platform podcast favorit Anda dan mulailah perjalanan untuk menjadi arsitek bagi kesuksesan karier Anda sendiri! #INIKOPER #PodcastIndonesia #PengembanganDiri #Kewirausahaan #Kepemimpinan #BedahBuku #ThinkLikeAnEntrepreneur

Esta noche en Misterios en Viernes viajamos, aunque sea con la mente, al Japón más enigmático y oculto. De la mano del periodista y escritor David Vargas Casado, autor del fascinante libro Japón Oculto. Misterios del País de los Kami, exploramos un universo plagado de leyendas, crímenes, folklore y secretos silenciados por el tiempo. Desde el bosque de Aokigahara hasta la siniestra Unidad 731, pasando por aldeas deshabitadas pobladas por espantapájaros que sustituyen a los antiguos vecinos, David nos guía por un Japón que rara vez aparece en las postales. Un recorrido entre lo mitológico y lo sociológico, entre lo espiritual y lo sombrío, que revela cómo los misterios hablan también de la sociedad que los crea. Hablamos del descenso demográfico, del sincretismo religioso, de la influencia del pasado feudal y de lo que ocurre cuando la tradición y el olvido se enfrentan. Porque Japón, como nos recuerda David, es un iceberg: lo visible es solo una pequeña parte de su profunda y compleja oscuridad. https://www.edenex.es

Apakah citra organisasi nirlaba atau koperasi Anda terasa tidak lagi sejalan dengan dampak besar yang Anda ciptakan? Rebranding bukan sekadar mengganti logo atau palet warna; ini adalah sebuah transformasi strategis yang mendalam. Ini adalah kesempatan untuk menyelaraskan kembali identitas dengan evolusi misi, menjangkau audiens baru, dan menegaskan kembali relevansi Anda di tengah lanskap sosial yang dinamis. Dalam episode terbaru INIKOPER, kami mengupas tuntas mengapa rebranding bisa menjadi langkah krusial bagi keberlanjutan organisasi Anda dan bagaimana memulainya dengan fondasi yang kokoh.   Kami akan memandu Anda melewati setiap fase penting dalam perjalanan rebranding. Mulai dari melakukan audit merek 360 derajat untuk memetakan persepsi internal dan eksternal, hingga merumuskan kembali visi, misi, dan narasi yang mampu menggugah emosi. Pelajari cara meluncurkan identitas baru dengan pendekatan "dari dalam ke luar" untuk memastikan seluruh tim menjadi duta merek yang paling otentik, serta bagaimana mengukur keberhasilan investasi strategis ini melalui metrik yang relevan—mulai dari keterlibatan digital hingga peningkatan dukungan dari para pemangku kepentingan.     Episode ini dirancang khusus untuk para pengurus koperasi, pimpinan yayasan, manajer komunikasi, dan siapa pun yang ingin memaksimalkan dampak sosial melalui identitas merek yang kuat dan jelas. Apakah merek Anda saat ini sudah menjadi aset terkuat untuk mencapai misi? Temukan jawabannya dan dapatkan panduan praktis untuk memulai perjalanan transformasi organisasi Anda. Dengarkan episode lengkapnya di INIKOPER, tersedia di mana pun Anda menikmati podcast.

Pernahkah Anda merasa organisasi  Anda terjebak dalam rutinitas yang tidak lagi efektif? Anda tahu ada yang perlu diubah, tetapi bingung harus mulai dari mana di tengah keterbatasan sumber daya dan politik internal. Kondisi "terjebak" ini bukan karena kurangnya usaha, melainkan karena sistem yang ada memang dirancang untuk menghasilkan capaian yang itu-itu saja.   Dalam episode terbaru INIKOPER, kita akan membedah kerangka kerja "Reset" dari buku Dan Heath, sebuah pendekatan strategis untuk keluar dari kebuntuan. Pelajari cara melakukan kerja detektif untuk menemukan "titik ungkit"—intervensi kecil yang memberikan dampak besar—dan bagaimana menata ulang sumber daya yang ada untuk mendorong perubahan tersebut. Kami akan membahas lima metode diagnostik, mulai dari "melihat langsung pekerjaan" hingga "mempelajari titik terang" atau kesuksesan internal yang sering terabaikan.   Episode ini adalah panduan praktis bagi para pemimpin dan pengurus yang ingin menyalakan kembali semangat tim melalui "prinsip kemajuan" dan mengubah skeptisisme menjadi antusiasme. Temukan cara menerapkan enam strategi aksi, termasuk cara memanfaatkan motivasi yang sudah ada dan mempercepat pembelajaran untuk mencapai hasil nyata. Dengarkan episode lengkapnya di INIKOPER untuk mulai merancang perubahan yang bermakna bagi organisasi Anda, hari ini.  

Di tengah lautan masalah sosial yang kompleks, seringkali kita hanya mampu melakukan perbaikan kecil dan tambal sulam. Namun, bagaimana jika ada cara berpikir yang berbeda, sebuah pendekatan yang tidak hanya ingin memperbaiki, tetapi menyelesaikan masalah hingga ke akarnya? Episode INIKOPER kali ini akan menyelami sebuah konsep radikal yang disebut “Big Bet” atau “Taruhan Besar”, yang digagas oleh Rajiv Shah, Presiden The Rockefeller Foundation. Ini adalah tentang keberanian untuk beralih dari pertanyaan “apa yang bisa kita lakukan?” menjadi “apa yang harus kita lakukan?” untuk menciptakan perubahan yang langgeng. “Big Bet” bukanlah sekadar proyek filantropi biasa; ia adalah sebuah strategi yang menuntut inovasi terobosan, aliansi yang tak terduga antara pemerintah, swasta, dan masyarakat sipil, serta disiplin ketat berbasis data untuk mengukur dampak. Kami akan mengupas tuntas bagaimana pendekatan ini telah berhasil dalam berbagai krisis global, mulai dari merevolusi akses vaksin bagi jutaan anak hingga memobilisasi sumber daya dalam menghadapi wabah Ebola. Ini adalah tentang mengubah seluruh sistem, bukan hanya sekadar menjalankan program. Lalu, apa relevansinya bagi dunia koperasi dan gerakan sosial di Indonesia? Apakah prinsip-prinsip “Taruhan Besar” ini bisa diadopsi untuk memperkuat dampak kolektif kita? Mari kita bedah bersama bagaimana semangat inovasi dan kolaborasi skala besar ini bisa menjadi inspirasi bagi kita untuk bertaruh lebih berani demi masa depan yang lebih adil dan berkelanjutan. Dengarkan episode terbaru podcast INIKOPER untuk menemukan jawabannya.

Bagaimana cara menjadi pemimpin yang tidak hanya mengelola, tetapi juga menginspirasi dan membawa perubahan nyata di organisasi nirlaba Anda? Dalam episode terbaru podcast INIKOPER, kita akan mengupas tuntas salah satu gaya kepemimpinan paling berpengaruh: Kepemimpinan Transformasional. Kami akan menjelajahi definisi, sejarah, dan mengapa konsep ini menjadi begitu relevan bagi para pemimpin yang ingin melampaui target dan membangun warisan yang berkelanjutan di tengah tantangan zaman. Episode ini menyajikan riset mendalam, mulai dari analisis SWOT—mengungkap kekuatan, kelemahan, peluang, hingga ancaman—dalam penerapannya di sektor nirlaba. Kami juga membahas kritik tajam terhadap teori ini serta membedahnya dengan gaya kepemimpinan lain seperti Kepemimpinan Pelayan (Servant Leadership). Anda akan mendapatkan wawasan kunci dari "Lima Kebenaran Pemimpin Transformasional" serta memahami hubungan vital antara kecerdasan emosional dan kemampuan untuk memimpin perubahan, sebuah perjalanan dari dalam ke luar untuk menjadi pemimpin yang kuat. Lebih dari sekadar teori, kami memberikan panduan praktis tentang bagaimana menerapkan prinsip-prinsip ini dalam operasional sehari-hari organisasi Anda. Temukan langkah-langkah konkret dan jelajahi berbagai sumber daya berharga dari lembaga terkemuka seperti BoardSource dan The Bridgespan Group untuk mendukung pertumbuhan kepemimpinan Anda. Jangan lewatkan episode INIKOPER kali ini untuk mentransformasi pendekatan Anda dan membawa dampak yang lebih besar bagi misi sosial Anda. Dengarkan sekarang!

Bismillah,1809. KALAU KAMU KASAR MEREKA AKAN MENJAUHRiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-399 | Hadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

Bismillah,1808. PERBEDAAN SAHABAT & ORANG MUNAFIK SAAT MELAKUKAN KESALAHANRiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-399 | Hadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

Bismillah,1807. JIKA PARA SAHABAT MELAKUKAN KESALAHANRiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-399 | Hadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

Bismillah,1806. PENTINGNYA MENJAGA NYAWA DALAM ISLAM Riyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-399 | Hadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

– Donald Tusk chce pokazać Hołowni miejsce w szeregu dokładnie tydzień po tym, jak pojawiły się informacje o jego włoskiej biesiadzie z Jarosławem Kaczyńskim – powiedział Michał Kolanko w Radiu Wnet. To było najlepszym i wyraźnym sygnałem, że Hołownia jest, mówiąc kolokwialnie, czołgany przez Platformę Obywatelską i samego Donalda Tuska– powiedział Michał Kolanko, komentując w Poranku Radia Wnet ostatnią wypowiedź premiera o braku szans dla Polski 2050 na stanowisko wicepremiera. Według niego to jest konsekwencja spotkania lidera Polski 2050 Szymona Hołowni z Jarosławem Kaczyńskim, Adamem Bielanem i Michałem Kamińskim.Jak wskazał, w Polsce 2050 „kotłuje się”, m.in. z powodu kontrowersji wokół Katarzyny Pełczyńskiej-Nałęcz, której kandydatura na stanowisko wicepremiera budziła sprzeciw w samym klubie partii Hołowni, jeszcze przed deklaracjami Tuska. Jest też bardzo prawdopodobne, że partia Polska 2050 otrzymałaby od Tuska, jak przewiduje Kolanko, stanowisko wicepremiera, gdyby sam Szymon Hołownia je objął.Katarzyna Pełczyńska-Nałęcz nie ma najwyższych notowań u samego premiera Tuska, a z kolei wejście samego Szymona Hołowni do rządu… no to on mówił, że to jest tylko pod jednym warunkiem, żeby też do rządu wszedł jako wicepremier Włodzimierz Czarzasty, a z tego Czarzasty zdaje się nie chce skorzystać i to dosyć wyraźnie komunikuje– mówił Kolanko.„Trzecia droga”Kolanko zwrócił uwagę, że rząd dysponuje obecnie większością wynoszącą 13 głosów, co stanowi połowę klubu Polski 2050. Jego zdaniem, w skrajnej sytuacji Hołownia może liczyć właśnie na tylu posłów.Jeśli Hołownia na serio chciałby być już nieistniejącą, ale jednak trzecią drogą między Platformą a PiS-em, to rozmowy z Kaczyńskim, nawet jeśli były tylko o upadku pierwszej Rzeczypospolitej, tylko go do tego przybliżają– mówił dziennikarz.

Bismillah,1799. KAMI TIDAK AKAN MENINGGALKAN ENGKAU WAHAI RASULULLAHRiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-397 | Hadits Abu Ma'bad Al-Miqdad bin Al-Aswad Radhiallahu 'anhu,Dari Abu Ma'bad Al-Miqdad bin Al-Aswad Radhiallahu 'anhu, beliau berkata,Saya mendengar Rasulullah bersabda,قلت لرِسُولِ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : أَرَأَيْتَ إِنْ لَقيتُ رَجُلاً مِنَ الكُفَّارِ ، فَاقْتَتَلْنَا ، فَضَرَبَ إِحْدَى يَدَيَّ بِالسَّيْفِ ، فَقَطَعهَا ثُمَّ لاذَ مِنِّي بِشَجَرَةٍ ، فقال : أَسْلَمْتُ للَّهِ ، أَأَقْتُلُهُ يا رسولَ اللَّه بَعْدَ أَنْ قَالَها ؟ فَقَالَ : « لا تَقْتُلْهُ » ، فَقُلْتُ يا رسُولَ اللَّهِ قطعَ إِحدَى يَدَيَّ ، ثُمَّ قال ذلكَ بَعْدَما قَطعَها ؟ فقال : « لا تَقْتُلْهُ ، فِإِنْ قَتَلْتَهُ ، فَإِنَّهُ بِمنَزِلَتِكَ قَبْلَ أنْ تَقْتُلَهُ . وَإِنَّكَ بِمَنْزِلَتِهِ قَبْلَ أَنْ يَقُولَ كَلِمَتَهُ التي قال."'Saya berkata kepada Rasulullah ﷺ, 'Beritahukan kepadaku bagaimana seandainya saya bertemu dengan seseorang dari kelompok orang-orang kafir, lalu kami bertempur, dia berhasil menyabet salah satu lengan saya dengan pedangnya hingga putus, kemudian dia berlindung dariku di balik sebatang pohon, lalu dia mengucapkan 'La Ilaha Illallah', maka apakah saya boleh membunuhnya, wahai Rasulullah ﷺ, setelah dia mengucapkannya?' Maka beliau menjawab, 'Jangan engkau membunuhnya.' Saya katakan, 'Wahai Rasulullah ﷺ, dia sudah memotong salah satu tangan saya, kemudian dia mengucapkan itu setelah dia memotongnya?' Maka beliau bersabda, 'Jangan engkau membunuhnya, karena kalau kamu membunuhnya, maka sesungguhnya kedudukannya sama dengan kedudukanmu sebelum kamu membunuhnya, dan kedudukanmu seperti kedudukannya sebelum dia mengucapkan kalimat yang dia ucapkan tadi'." (Muttafaq 'alaih).

Bismillah,1804. PENTINGNYA BERTANYA "KENAPA?"Riyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

Bismillah,1803. BIJAK DALAM BERKOMUNIKASIRiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-399 | Hadits Jundub bin Abdullah Radhiallahu ‘anhuDari Jundub bin Abdullah Radhiallahu ‘anhu,أَنَّ رسولَ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم بعثَ بعْثاً مِنَالمُسْلِمِينَ إِلى قَوْمٍ مِنَ المُشْرِكِينَ ، وَأَنَّهُمْ الْتَقَوْا ، فَكَانَ رَجُلٌ مِنَ المُشْرِكِينَ إِذا شَاءَ أَنْ يَقْصِدَ إِلى رَجُلٍ مِنَ المُسْلِمِينَ قَصَدَ لَهُ فَقَتَلَهُ ، وَأَنَّ رَجُلاً مِنَ المُسْلِمِينَ قَصَدَ غَفْلَتَهُ ، وَكُنَّا نَتَحَدَّثُ أَنَّهُ أُسَامَةُ بْنُ زَيْدٍ فَلمَّا رَفَعَ عليه السَّيْفَ ، قال : لا إِله إِلاَّ اللَّهُ ، فقَتَلَهُ ، فَجَاءَ الْبَشِيرُ إِلى رسول اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم ، فَسَأَلَهُ ، وأَخْبَرَهُ ، حَتَّى أَخْبَرَهُ خَبَر الرَّجُلِ كَيْفَ صنَعَ ، فَدَعَاهُ فَسَأَلَهُ ، فقال : « لِمَ قَتَلْتَهُ ؟ » فَقَالَ: يا رسولَ اللَّهِ أَوْجَعَ في المُسْلِمِينَ ، وقَتلَ فُلاناً وفُلاناً وسَمَّى له نَفراً وإِنِّي حَمَلتْ عَلَيْهِ ، فَلَمَّا رَأَى السَّيْفَ قال : لا إِله إِلاَّ اللَّهُ . قال رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم : « أَقَتَلْتَهُ ؟ » قال : نَعمْ ، قال : « فَكيْفَ تَصْنَعُ بلا إِله إِلاَّ اللَّهُ ، إِذا جاءَت يوْمَ القيامَةِ ؟ » قَال يا رسولَ اللَّه اسْتَغْفِرْ لي . قال : « وكيفْ تَصْنَعُ بِلا إِله إِلاَّ اللَّهُ، إِذا جاءَت يَوْمَ القِيامَةِ ؟ » فَجَعَلَ لا يَزيدُ عَلى أَنْ يَقُولَ : « كيفَ تَصْنَعُ بِلا إِلهَ إِلاَّ اللَّهُ إذا جاءَتْ يَوْمَ القِيامَةِ » رواه مسلم ."Bahwa Rasulullah ﷺ mengirim sebuah pasukan dari kaum Muslimin menuju satu kaum dari orang-orang musyrik. Dan mereka pun saling berhadapan (berperang). Seorang laki-laki dari kaum musyrikin, tatkala dia mau mengincar seorang laki-laki dari kaum Muslimin, dia menghampirinya lalu membunuhnya, dan seorang laki-laki dari kaum Muslimin juga mengincar lalu membunuhnya. Kami berbincang-bincang bahwa dia adalah Usamah bin Zaid, di mana tatkala Usamah mengangkat pedang di atas kepalanya, dia tiba-tiba mengucapkan 'La Ilaha Illallah', namun dia tetap membunuhnya. Pembawa berita gembira datang kepada Rasulullah ﷺ beliau bertanya kepadanya, dan dia menjawabnya hingga dia menceritakan berita laki-laki tersebut bagaimana dia bertindak. Maka beliau memanggil Usamah dan bertanya, 'Mengapa kamu membunuhnya?' Dia menjawab, 'Wahai Rasulullah, dia telah merugikan kaum Muslimin. Dia membunuh fulan, fulan...' dia menyebut nama beberapa orang dan saya menghunuskan pedang di atas kepalanya, lalu ketika dia melihat pedang, dia berucap 'La Ilaha Illallah.' Rasulullah ﷺ bertanya, 'Apakah kamu membunuhnya?' Dia menjawab, ‘Ya.' Beliau bersabda, ‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat?' Dia berkata, 'Wahai Rasulullah, mohonkanlah ampunan untukku.' Beliau bersabda, ‘‘Apa yang akan kamu lakukan dengan 'La Ilaha illallah' apabila kalimat itu datang pada Hari Kiamat? Maka beliau tidak lebih dari mengucapkan, 'Apa yang akan kamu lakukan dengan 'La Ilaha Illallah apabila kalimat itu datang pada Hari Kiamat?'" (HR. Muslim)

Pernahkah Anda merasa sulit fokus, mudah lupa, atau terjebak dalam kebiasaan yang tidak produktif? Otak kita adalah organ yang luar biasa kompleks, namun seringkali kita tidak memahami cara kerjanya yang optimal. Di episode terbaru INIKOPER, kami akan membawa Anda menyelami "Brain Rules" karya John Medina, seorang ahli biologi molekuler yang telah mengungkap 12 prinsip ilmiah untuk mengoptimalkan kinerja otak Anda di tempat kerja, di rumah, dan di sekolah. Bersiaplah untuk mengubah cara Anda berpikir tentang belajar, mengingat, dan berkembang! Bayangkan jika Anda bisa meningkatkan daya ingat hanya dengan berolahraga , atau memahami mengapamultitasking justru merusak produktivitas Anda. Kami akan membahas bagaimana tidur yang berkualitas adalah kunci untuk berpikir jernih , dan mengapa melibatkan lebih banyak indra saat belajar dapat meningkatkan retensi informasi secara dramatis. Ini bukan sekadar teori, melainkan panduan praktis yang didukung oleh penelitian ilmiah yang ketat.       Jangan lewatkan episode ini untuk membuka potensi penuh otak Anda! INIKOPER akan membongkar mitos-mitos tentang otak dan memberikan strategi yang terbukti secara ilmiah untuk meningkatkan kinerja kognitif Anda. Dengarkan sekarang dan mulailah perjalanan Anda menuju pikiran yang lebih tajam, lebih bahagia, dan lebih produktif!

Bismillah,1802. HARUSKAH MENGECEK ISI HATINYA DULURiyaadhush Shaalihiin Bab 49 | Menilai manusia sesuai apa yang nampak dan menyerahkan rahasia-rahasia mereka kepada AllahHadits ke-398 | Hadits Usamah bin Zaid Radhiallahu ‘anhuDari Usamah bin Zaid Radhiallahu ‘anhu, beliau berkata,بعثَنَا رسولُ اللَّه صَلّى اللهُ عَلَيْهِ وسَلَّم إلى الحُرَقَةِ مِنْ جُهَيْنَةَ ، فَصَبَّحْنا الْقَوْمَ عَلى مِياهِهمْ ، وَلحِقْتُ أَنَا وَرَجُلٌ مِنَ الأَنْصَارِ رَجُلاً مِنهُمْ فَلَمَّا غَشِيناهُ قال : لا إِلهِ إلاَّ اللَّه ، فَكَفَّ عَنْهُ الأَنْصارِيُّ ، وَطَعَنْتُهُ بِرْمِحِي حَتَّى قَتَلْتُهُ ، فَلَمَّا قَدِمْنَا المَدينَةَ ، بلَغَ ذلِكَ النَّبِيَّ صَلّى اللهُ عَلَيْهِ وسَلَّم ، فقال لي : « يا أُسامةُ أَقَتَلْتَهُ بَعْدَ ما قَالَ : لا إِلهَ إِلاَّ اللَّهُ ؟ قلتُ : يا رسولَ اللَّه إِنَّمَا كَانَ مُتَعَوِّذاً ، فَقَالَ : « أَقًتَلْتَهُ بَعْدَ مَا قَالَ لا إِلهَ إِلاَّ اللَّهُ؟،» فَما زَالَ يُكَرِّرُهَا عَلَيَّ حَتَّى تَمنَّيْتُ أَنِّي لَمْ أَكُنْ أَسْلَمْتُ قَبْلَ ذلِكَ الْيَوْمِ . متـفقٌ عليه ."Kami diutus oleh Rasulullah ﷺ menuju marga Huraqah dari suku Juhainah, pagi hari kami menyerbu mereka di sumber mata air mereka. Saya dan seorang laki-laki dari kaum Anshar mengejar seorang dari mereka. Maka ketika kami telah mengepungnya, dia mengucapkan ‘La Ilaha illahllah', maka laki-laki dari Anshar tadi menahan dirinya, sedangkan saya menikamnya dengan tombakku hingga saya membunuhnya. Tatkala kami sampai di Madinah, berita itu sampai kepada Nabi ﷺ, maka beliau berkata kepadaku, 'Wahai Usamah, apakah kamu membunuhnya setelah dia mengucapkan ‘La Ilaha illahllah'? Saya menjawab, 'Wahai Rasulullah, sesungguhnya dia mengucapkannya hanya untuk melindungi dirinya saja.' Maka beliau mengucapkan, 'Apakah kamu membunuhnya setelah dia mengucapkan 'La Ilaha Illallah?' Beliau tidak henti-hentinya mengulang-ulang ucapan itu kepadaku, hingga saya berangan-angan seandainya saya belum masuk Islam sebelum hari itu." (Muttafaq ‘alaih)

Ang Kami Lama kennt sich aus mit Bergen und mit Menschen: Einst Sherpa am Mount Everest, hat er seine Heimat verlassen und ist nun erster nepalesischer Hüttenwirt auf der Hochalpe am Breitenberg. Kami, wie er genannt wird, ist ausgebildeter Bergführer und ein äußerst gelassener Hüttenwirt. Warum Gelassenheit gerade am Berg wichtig ist, erzählt er uns im Podcast.

Kami bersama dua terapis dari Bone Setting SG untuk dengarkan pengalaman mereka "melipat" pesakit pesakit mereka. EPISODE KE-500 PUNYA PASAL! Kami bukan main-main… badan pun jangan dibiar main-main! Sempena pencapaian Manap & Mawi Podcast yang ke-500 episode, kami nak belanja DISCOUNT 10% untuk semua services di Bone Setting SG Untuk siapa promo ni? Pendengar setia Keluarga & kawan-kawan Yang tulang dah lama reput.Kenapa Bone Setting SG? Therapist power, bersemangat dan bukan jenis main tekan je Ramai dah reccomend, bukan acah-acah viral Service mesra pelanggan – siap senyum, tak marah kalau jerit sikit atau terkentut Book terus. Guna code: MANAPMAWI10 masa booking. Boleh share dengan geng yang asyik mengadu “lenguh tengkuk” tapi tak buat apa-apa ....

Selamat datang kembali di INIKOPER, podcast yang selalu siap menemani perjalanan pikiran dan ide-ide Anda! Di episode terbaru ini, kami kembali hadir dengan pembahasan yang mendalam dan relevan, dirancang khusus untuk memperkaya wawasan Anda. Bersiaplah untuk menyimak diskusi menarik yang akan membuka perspektif baru dan memberikan inspirasi segar dalam keseharian Anda. Dalam naskah yang akan kami sajikan, kami menyelami berbagai topik menarik, mulai dari tren terkini hingga isu-isu fundamental yang seringkali luput dari perhatian. Kami mengupas tuntas setiap detail, menyajikannya dengan gaya yang ringan namun tetap informatif, sehingga mudah dicerna oleh siapa saja. Setiap paragraf dirancang untuk memicu pemikiran dan mendorong Anda untuk melihat dunia dari sudut pandang yang berbeda. Jangan lewatkan kesempatan untuk mendengarkan episode lengkapnya di platform podcast favorit Anda. Bagikan juga episode ini kepada teman dan keluarga agar lebih banyak lagi yang mendapatkan manfaat dari diskusi kami. Ikuti terus INIKOPER untuk mendapatkan konten-konten berkualitas lainnya, dan mari bersama-sama terus belajar dan berkembang.

Kami bersama dua terapis dari Bone Setting SG untuk dengarkan pengalaman mereka "melipat" pesakit pesakit mereka. EPISODE KE-500 PUNYA PASAL! Kami bukan main-main… badan pun jangan dibiar main-main! Sempena pencapaian Manap & Mawi Podcast yang ke-500 episode, kami nak belanja DISCOUNT 10% untuk semua services di ⁠Bone Setting SG⁠ Untuk siapa promo ni? Pendengar setia Keluarga & kawan-kawan Yang tulang dah lama reput.Kenapa Bone Setting SG? Therapist power, bersemangat dan bukan jenis main tekan je Ramai dah reccomend, bukan acah-acah viral Service mesra pelanggan – siap senyum, tak marah kalau jerit sikit atau terkentut Book terus. Guna code: MANAPMAWI10 masa booking. Boleh share dengan geng yang asyik mengadu “lenguh tengkuk” tapi tak buat apa-apa ....

— Niemcy zachowują się nie fair wobec Polski ws. migrantów — mówił w Expressie Biedrzyckiej wiceminister klimatu i środowiska, Miłosz Motyka. Polityk PSL nazwał PiS „bandą hipokrytów”, którzy sami wpuszczali migrantów do Polski, a teraz próbują odwracać kota ogonem. O spotkaniu Szymona Hołowni (i Michała Kamińskiego) z politykami PiS, trudnej sytuacji pogodowej a także dymisji w Wodach Polskich – w najnowszym odcinku. Posłuchaj całej dyskusji! Oglądaj Express Biedrzyckiej na żywo w serwisie YouTube. Więcej informacji o programie na stronie Super Expressu.

Miała być sprawiedliwość, miało być rozliczenie. Emocje wyborcze napędzały obietnice Donalda Tuska: „rozliczymy PiS z każdego łajdactwa”. Minęło kilka miesięcy, a młyny sprawiedliwości mielą powoli, jeśli w ogóle. Kamiński i Wąsik ułaskawieni, Ziobro nieuchwytny, Romanowski w Budapeszcie. Głośne afery bez finału, a społeczeństwo coraz bardziej sfrustrowane. Władza zamiast rozliczać, sama musi się tłumaczyć. Tymczasem PiS, podbudowany zwycięstwem Karola Nawrockiego, odbudowuje pozycję. Czy karząca ręka sprawiedliwości jeszcze sięgnie winnych? A może... kara się oddala? Karolina Lewicka rozmawia z Ewą Siedlecką. Chcesz więcej treści od „Polityki”? Analizy, komentarze ekspertów i rozmowy: wszystko, co musisz wiedzieć o polityce (i nie tylko), w jednym miejscu. Skorzystaj z oferty specjalnej: kup subskrypcję z 30% zniżką na roczną subskrypcję Standard. Aktywuj kod TEMAT30 na stronie www.polityka.pl/kod/temat30.

Pernahkah Anda menyaksikan sebuah aplikasi internal yang awalnya hanya digunakan oleh satu tim, perlahan bertransformasi menjadi sistem yang tanpanya seluruh perusahaan tidak bisa berfungsi? Proses ini bukanlah keajaiban, melainkan sebuah evolusi terstruktur yang penuh dengan tantangan dan peluang strategis. Dalam episode terbaru podcast kami, kami mengupas tuntas perjalanan menakjubkan ini, dari sebuah alat bantu sederhana menjadi aset yang paling krusial bagi kelangsungan bisnis. Kami akan memandu Anda melewati lima tahapan krusial dalam evolusi sebuah sistem. Mulai dari tahap Inisiasi, di mana sebuah ide baru pertama kali diuji coba, berlanjut ke fase Adopsi yang meluas di kalangan pengguna. Kemudian, kita akan masuk ke tahap Integrasi yang menghubungkannya dengan ekosistem teknologi lain, hingga mencapai level Strategis sebagai sumber keunggulan kompetitif, dan puncaknya menjadi Core System yang menjadi denyut nadi perusahaan. Baik Anda seorang pemimpin bisnis yang ingin memaksimalkan investasi teknologi, seorang manajer produk yang sedang mengembangkan sistem baru, atau praktisi IT yang mengelola infrastruktur, episode ini akan memberikan peta jalan dan wawasan berharga. Pahami di tahap mana sistem Anda berada saat ini dan bagaimana cara membawanya ke level selanjutnya. Dengarkan episode lengkapnya sekarang juga di platform podcast favorit Anda! #PodcastIndonesia #TransformasiDigital #TeknologiBisnis #ManajemenProyek #SistemInformasi #Inovasi

– Spotkanie marszałka Szymona Hołowni z Jarosławem Kaczyńskim nie było zaskoczeniem – ocenia publicysta Igor Zalewski w Poranku Radia Wnet.Zdaniem Igora Zalewskiego, dziennikarza, który był gościem Poranka Radia Wnet spotkanie Jarosława Kaczyńskiego i Szymona Hołowni jest dowodem na rozbijanie kordonu sanitarnego wokół Prawa i Sprawiedliwości, a także sygnałem kryzysu zaufania w obecnej koalicji rządowej.Nie było to dla mnie zaskoczeniem, bo kilka dni wcześniej rozmawiałem z politykami PiS, którzy mówili mi, że taka próba zostanie podjęta– powiedział Zalewski w rozmowie z Radiem Wnet. Przyznał, że był początkowo sceptyczny wobec planów takich rozmów.Ale, jak się okazało, mój sceptycyzm był nieuzasadniony. Urok Jarosława Kaczyńskiego jest na tyle duży, że Szymon Hołownia zgodził się z nim spotkać, nawet w dosyć specyficznych warunkach– ocenił.Niepowodzenie polityki obozu rządzącegoZdaniem Zalewskiego, obecna polityka opozycji, która starała się stworzyć wokół PiS kordon sanitarny na wzór niemiecki wobec AfD, zaczyna się kruszyć.Polityka w Polsce nigdy nie polegała na niespotykaniu się. Polegała raczej na rozmowach. Po dwóch kadencjach PiS druga strona próbowała zbudować wokół tej partii mur. Ale to się nie udaje, bo PiS jest zbyt silny, zbyt ważny i ma zbyt wielu zwolenników, żeby udawać, że nie istnieje– powiedział.Zalewski zwrócił także uwagę na odbudowywanie kontaktów politycznych między byłymi spin-doktorami PiS – Adamem Bielanem i Michałem Kamińskim, obecnie związanym z PSL.Przed laty tworzyli niezwykle skuteczny duet, nazywano ich Przedszkolem Kaczyńskiego. Drogi ich się rozeszły, ale polityczne momentum sprawiło, że zaczęli znowu rozmawiać– powiedział dziennikarz. Jego zdaniem w grę wchodzą nie tylko kalkulacje polityczne, ale także osobiste relacje.

Julia to artystka wszechstronna, aktorka, scenarzystka, wokalistka, działaczka społeczna — długo by wymieniać. Rozmawiamy o podążaniu własną drogą. O szołbiznesie. O ciągłym zderzaniu się ze ścianą zbudowaną z tego, co kobieta powinna, a czego nie powinna. O bronieniu twórczej ekspresji i reagowaniu na krytykę. I jak w tym wszystkim słuchać swojego ciała. 

Summary  In this conversation with David, LGBTQ+ ally and researcher Kami Hunley-Jackson, who shares her personal journey and research on the coming out process, particularly focusing on the experiences of LGBTQ+ individuals and their families. The former Latter Day Saint is the mother of two LGBTQ+ children and sister to her gay brother. She discusses the challenges faced by families, the impact of religion, and the importance of communication and support systems. Kami emphasizes the need for understanding and acceptance, both for those coming out and their loved ones, and highlights the mental health implications of the coming out journey. The conversation also touches on the evolving nature of religious acceptance and the importance of creating safe spaces for dialogue.   Keywords   coming out, LGBTQ+, acceptance, mental health, family support, religion, communication, research, personal stories, allyship  Takeaways  Kami's personal experiences with her children and brother shaped her understanding of the coming out process.The decision between religious beliefs and family acceptance can be a painful conflict for parents.Supportive communities, like Mama Dragons, provide essential resources for families of LGBTQ+ individuals.The theater community often offers a more accepting environment for LGBTQ+ individuals.Kami's research revealed that non-religious individuals tend to communicate better during the coming out process.Mental health issues, including suicidal ideation, were prevalent among the study participants.Self-acceptance is a crucial step in the coming out journey, often requiring individuals to confront their identity.The coming out process is deeply personal and should be respected as such by family members.Creating a safe space for communication is vital for both the individual coming out and their loved ones.Religious institutions are evolving, with some becoming more inclusive of LGBTQ+ individuals.Sound Bites   "I realized that I needed to search my own heart.""The love of a mother over the situation.""I acted differently this time around."  Audio Chapters  00:00 Understanding the Importance of Coming Out02:36 Personal Journeys: Family and Acceptance 05:25 The Role of Religion in Coming Out08:35 Research Insights: Communication and Relationships11:13 Mental Health and the Coming Out Process14:05 Support Systems and Resources16:48 Advice for Families and Individuals19:51 Looking Ahead: Future Research Directions  Podcast website and resources: https://www.OutLateWithDavid.com  YouTube Edition:   https://youtu.be/jCsPAB9C2aM YouTube Channel:   https://www.youtube.com/channel/UCvsthP9yClKI4o5LxbuQnOg  Certified Professional Life Coach, David Cotton:  https://www.DavidCottonCoaching.com  Contact David:  mailto:david@davidcottoncoaching.comhttps://www.DavidCottonCoaching.comhttps://www.OutLateWithDavid.comhttps://linktr.ee/davidacotton  © 2025 David Cotton Coaching, LLC. All rights reserved. The "Out Late With David" podcast and its content are the property of David Cotton Coaching, LLC. Unauthorized use and/or duplication of this material without express and written permission from David Cotton Coaching, LLC is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to "Out Late With David" and David Cotton Coaching, LLC with appropriate and specific direction to the original content.  

Była już późna noc z czwartku na piątek, gdy dostaliśmy sygnał, że na ekskluzywnym osiedlu w centrum Warszawy zaczyna się polityczny zlot miłośników drogich aut z kierowcami, organizowany przez znanego propagatora automobilizmu, europosła PiS Adama Bielana. Postanowiliśmy działać. Sygnał pochodził od dziennikarza Radia Zet Mariusza Gierszewskiego, męża współautorki „Stanu Wyjątkowego” Dominiki Długosz. Mariusz usłyszał, że Bielana potajemnie odwiedził niespodziewany gość — marszałek Sejmu Szymon Hołownia. Mariusz upierał się nawet, że w podziemnym garażu na miejscu Bielana zaparkowana marszałkowska limuzyna Hołowni. Brzmiało to nieco dziwnie, przyznają Państwo. Przejrzysty, uczulony na nieprawości Hołownia u pisowca Bielana, którego nazwisko przewija się w aferze Narodowego Centrum Badań i Rozwoju, skąd bliscy mu ludzie wypompowali kasę liczoną w setkach milionów? Chcąc oczyścić dobre imię marszałka, postanowiliśmy poprosić o pomoc najlepszych specjalistów od tropienia pasażerów drogich aut z kierowcami — redakcję „Faktu”. Mimo późnej pory fotoreporterzy „Faktu” podeszli do sprawy poważnie, rozumiejąc, że nieposzlakowana opinia marszałka to sprawa wagi państwowej. Ustawili więc lufy swych aparatów na parkingu pod apartamentowcem Bielana. Jakież było ich zdumienie, gdy po 1.00 w nocy pojawiła się tam limuzyna prezesa PiS Jarosława Kaczyńskiego oraz auto jego ochrony. Kaczyński z obstawą wyjechał po niespełna godzinie. A ok 2.30 w nocy z apartamentowca wyszedł wicemarszałek Senatu Michał Kamiński, by wsiąść do swego służbowego czarnego bolidu z kierowcą. Oficjalnie nic tu się nie zgadza. Co prawda Bielan z Kamińskim stanowili nierozłączną parę propagandystów Kaczyńskiego, ale rozstali się z nim w 2010 r. Po porażce w przyspieszonych wyborach prezydenckich po Smoleńsku Kaczyński zaostrzył kurs PiS i wyrzucił ich z partii. Bielan po latach wrócił, ale Kamiński nie — przez co dokonał się ich oficjalny rozwód polityczny. Kamiński związał się najpierw z Platformą, a teraz formalnie współpracuje z PSL — i od 15 lat jest jednym z najbrutalniejszych krytyków Kaczyńskiego. Tylko w ostatnim czasie, wyzywał go od mafijnych hersztów, drwił, że jest „wielkim prorokiem niewielkich rozmiarów” i promował hasło „PiS is bad”. O Hołowni nie ma nawet co wspominać — oficjalnie odsądza Kaczyńskiego od czci i wiary, płakał nad łamaną przez niego Konstytucją i domagał się przyspieszenia w rozliczaniu pisowców. O co chodzi w tym zlocie hipokrytów? Jeśli w polityce nie wiadomo o co chodzi, to chodzi o władzę, pieniądze lub obie te rozkosze jednocześnie. Zapraszamy na „Stan Wyjątkowy”!

Thank you to Sirenian Bay Resorts and Villas! sirenianbay.comHave you ever dreamed of escaping to a tropical paradise where palm trees sway, crystal waters beckon, and adventure awaits around every corner? Join us as we kick off our summer series exploring Placencia, Belize—a stunning 16-mile peninsula that captivated us from the moment we arrived.This episode serves as your comprehensive guide to planning the perfect Belizean getaway. We break down everything from what to pack (multiple swimsuits are non-negotiable!), to navigating flights with Tropic Air's scenic puddle jumpers that offer breathtaking aerial views of mountains, rainforests, and winding rivers. You'll appreciate our practical tips about currency (the easy 2:1 exchange rate makes math simple), language (English is the official language), and the fascinating cultural mosaic that makes Belize so unique.Discover accommodation options that cater to every preference—from Serenian Bay, Belize's only all-inclusive resort where we stayed, to private islands with personal chefs, to the garden paradise of Cieba Beach Resort. We take you behind the scenes of each property, sharing the distinct atmosphere and amenities you'll find. Transportation is a breeze with golf carts from Captain Jack's for peninsula exploration and boat taxis for island hopping.What makes this episode particularly valuable is our firsthand experience navigating the quirks of Belizean travel—like how to handle those pesky "no-see-ums" (sand fleas), the unexpected flexibility of flight schedules, and local customs you won't find in typical travel guides. We even share the story of a mysterious bird encounter that left even long-time locals puzzled!Whether you're actively planning a trip or simply dreaming of your next escape, this episode will transport you to the sunny shores of Placencia. Subscribe now to join us next week as we dive deeper into our adventures with snorkeling, spice farms, chocolate making, and more unforgettable experiences from our Belizean journey.Destinations by Kami, LLC: destinationsbykami@gmail.com, 419-957-2087Dream Vacations:JoAnne:  jmichaud@dreamvacations.com, 919-452-0227Gecko Vacation Rentals: reservations@geckovacations.com 972-383-4443Prana Maya Island Resort: info@pranamayaresort.com 888-487-2011Thanks for your ongoing support!http://paypal.me/TheROAMiesAlexa and RoryThe ROAMiesPlease subscribe, rate and share our podcast! Follow us at:http://www.TheROAMies.comThe ROAMies: Facebook and Instagram YouTube and X.

Tesla v Texasu rozjela Robotaxi a internety se přetahují, jestli je to epochální změna, nebo jen o zoufale pomalé dohánění autonomních taxíků společnosti Waymo, které se rozjely už před téměř dekádou.Filip byl na premiéře novinek značky Bosch pro elektrokola a prý to byla trochu nuda. Jenže pak se diskuze zasekla na dvou číslech: dojezd 280 km a rychlost 45 km/h.No a nakonec jsme zapnuli trojici nových hodinek značky Garmin, které chvíli před tím přistály v poště. Klíčová sdělení jsou dvě: s novými Venu X1 zkouší Garmin otevřít úplně nový segment a řada Forerunner poprvé dostala svítilnu aka nejlepší funkci ever (na tomto prostém faktu se shodnou 4 z 5 garmiňáků).1:00 – Tesla rozjíždí Robotaxi6:30 – Elektrokola Bosch17:30 – Nové Garminy

In this conversation, Justin Neagle and Will Foret speak with Kami Farahmandpour and Chris Kottra from Building Technology Consultants, Inc. (BTC) about their experiences in the engineering industry, the founding of BTC, and the importance of company culture, leadership transitions, and quality in their work. They discuss the challenges of hiring in a niche market, the significance of training for autonomy, and the role of litigation in honing expertise. The conversation also touches on reflections and advice for future leaders in the industry.

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

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On today's show, Alex Golden is joined by Pacers Fan, Kami, to discuss his trip to Indiana from Atlanta this week, what he thought of the city, his food review on Culver's and Long's Bakery and what the atmosphere was like in Gainbridge for Games 3 + 4 and the Game 5 Watch Party.Shortly after, Kami and Alex discuss what the Pacers need to do in Game 6 to come out successfully with a win, discuss what players have struggled this series and why, how they can overcome their struggles and impact this series and MORE! The guys conclude the show giving their Game 6 predictions and discussing how to stop New York.