PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018




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Tag : umroh terjamin di gorontalo januari 2016
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Tag : umroh terjamin di gorontalo bulan januari 2016
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Tag : umroh terjamin di gorontalo bulan desember tahun 2015
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Tag : umroh terjamin di gorontalo bulan desember 2015

Travel Umroh

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Tag : umroh terjamin di gorontalo awal tahun 2016
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Tag : umroh terjamin di gorontalo akhir tahun 2015 bulan desember
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Tag : umroh terjamin di gorontalo akhir tahun 2015
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Tag : umroh terjamin di gorontalo akhir desember tahun 2015
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Tag : umroh terjamin di gorontalo akhir desember 2015
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Tag : umroh terjamin di gorontalo
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Tag : umroh terjamin di depok januari 2016
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Tag : umroh terjamin di depok bulan januari 2016
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Tag : umroh terjamin di depok bulan desember tahun 2015
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Tag : umroh terjamin di depok bulan desember 2015
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Tag : umroh terjamin di depok awal tahun 2016
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Tag : umroh terjamin di depok akhir tahun 2015 bulan desember

Travel Umroh

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Tag : umroh terjamin di depok akhir tahun 2015
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Tag : umroh terjamin di depok akhir desember tahun 2015
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Tag : umroh terjamin di depok akhir desember 2015

CARA BERBISNIS JASA RENTAL MOBIL

kira- kira apa ya yang dibutuhkan untuk dapat menjadi pengusaha rental mobil??? bisnis ini memang tergolong sangat menjanjikan karna selain perputaran uang nya yang cepat juga pangsa pasarnya dari golongan menengah keatas dan menengah kebawah... tentu saja hal yang telah dibutuhkan pertama adalah mobilnya!!! bener tidak??? hehehehehe... kalau tidak ada mobil, delman juga tidak papa.,,.. (kidding)

1. Jika anda mempunyai mobil pribadi dengan tahun muda dan tidak terlalu banyak digunakan, sebaiknya dititipkan saja dengan perusahaan rental mobil yang nanti dimana ada perjanjian kontrak perjanjian sewa mobil antara anda pemilik mobil dan pihak perusahaan rental mobil sekian tahun , tentunya anda juga menitipkan mobil anda dengan orang yang anda bisa percaya dan dapat dipertanggung jawabkan.
Apabila ada kerusakan dan perbaikan adalah tanggung jawab dari perusahaan rental mobil itu tersebut itu harus ada didalam perjanjian kontrak.

2. Jika Anda ingin mengelola usaha ini sendiri, hal yang paling utama adalah pemasaran dari sewa mobil anda, Intinya marketingnya harus bagus... kalau tidak ada marketing  bisa- bisa mobil anda mandek semua
dan tidak jalan karna tidak ada yang order,, karna tidak tau... hehehehehe.. anda harus bisa kalkulasi kira minimal berapa kali mobil keluar dalam 1 bulan baik itu klien tetap ataupun klien baru pengguna jasa mobil anda, dari sana anda bisa kalkulasi dan mempekerjakan supir untuk rental

3. Mulailah terima order dari yang kecil-kecil dulu.. misalnya antar jemput untuk wilayah jakarta , antar jemput bandara, jemputan hotel.

4. Untuk dapat menghitung laba anda minimal anda harus tau type mobil yang bagaimana menghabiskan bensin untuk 50km meter berapa liter, atau daripada anda pusing- pusing anda cukup menyewakan mobil saja dan bensinnya biar Customer anda yang mengisi dengan catatan pada saat mobil disewa bensin full dan pulang ke kembali ya harus Full..

5. Pergunakanlah media internet sebagai salah satu promosi jasa rental mobil anda, zaman sekarang orang lebih sering mengakses om Google dari pada membaca surat kabar, entah itu anda buat web, iklan dsbnya.. yang penting promosi rental mobil anda dapat dibaca oleh orang yang mengakses internet baik melalui Handphone atau komputer, Laptop dan Ipad. serta jangan lupa buat kartu nama dan brosur untuk menunjang bisnis anda. Apalagi anda mempunyai teman yang paham tentang blog. web dan internet bagaiama caranya
iklan atau web anda muncul dihalaman pertama google dari keyword atau kata kunci yang dicari orang ini merupakan nilai++ bagi anda.. Karna Order kan cepat Datang... TArARARARA...


6. Usahakan terima order sewa mobil 1 hari sebelumnya untuk meminimalis kekacauan jadwal user.
     Kalau anda ada dana berlebih pasanglah GPS pada masing mobil anda untuk memantau di daerah mana mobil anda saat itu dan untuk meminimkan resiko dijalan.

7. Jika anda membuka lowongan untuk driver maka hal yang penting untuk diperhatikan selain pandai mengemudi dan hapal wilayah dalam kota ataupun luar kota jakarta  adalah sikap dan tata krama driver... karna dia lah yang akan menentukan  citra baik dan buruknya rental mobil anda dimata klien.. jika bagus dan klien suka, maka dia akan langganan dengan jasa sewa mobil anda. Untuk menerima driver untuk rental mobil anda surveilah rumah mereka agar andatau keaadaan dari calon driver anda, hal ini juga akan meminimkan resiko penipuan...


8. jangan lupa cek pasaran harga sewa mobil yang diberikan oleh perusahaan rental mobil agar harga sewa yang anda berikan tidak terlalu mahal dan tidak terlalu murah, biasanya sewa mobil per 12 jam dalam kota/ per 24 jam luar kota

 

> CARA BERBISNIS JASA RENTAL MOBIL

CEO BARU MICROSOFT SEMAKIN MISTERIUS

saco-indonesia.com, Awal tahun ini CEO Microsoft, Steve ballmer, telah menyatakan bahwa dirinya akan pensiun dalam waktu 12 bulan ke depan. Sejak saat itu, panitia khusus dewan telah melihat sejumlah kandidat untuk dapat menggantikan Ballmer. Namun hingga kini belum ada yang telah menjadi prioritas.

mengungkapkan bahwa hingga awal tahun 2014, Microsoft tidak akan mengumumkan keputusan CEO baru untuk dapat menggantikan Ballmer.

Hal tersebut telah didapat dari sebuah posting melalui blog resmi Microsoft oleh anggota dewan perusahaan, John Thompson. Pihaknya juga telah menyatakan bahwa perlu adanya penelitian yang lebih dalam serta investigasi untuk bisa menentukan pilihan yang tepat.

Selama ini ada beberapa nama yang telah disoroti sebagai calon pengganti Ballmer, diantaranya adalah Alan Mulally yang kini menjadi CEO Ford, Stephen Elop CEO Nokia, serta orang dalam Microsoft sendiri yaitu Satya Nadell dan Tony Bates.

Lantas, siapakah calon pengganti Steve Ballmer untuk bisa menduduki kursi CEO Microsoft tahun depan?


Editor : Dian Sukmawati

> CEO BARU MICROSOFT SEMAKIN MISTERIUS

Konsumsi tomat secara rutin untuk cegah stroke

Saco-Indonesia.com - Buah tomat merupakan salah satu makanan sehat yang memiliki banyak manfaat untuk kesehatan. Selain kaya akan vitamin C dan serat yang baik untuk menurunkan berat badan, ternyata makan tomat secara rutin juga ampuh untuk cegah stroke.

Seperti dilansir dari bbc.co.uk, tomat memiliki salah satu zat antioksidan yang dinamakan dengan lycopene. Zat ini mampu menurunkan kadar kolesterol di dalam tubuh Anda yang dapat memicu kanker dan serangan jantung.

Dalam sebuah penelitian yang diterbitkan di jurnal Neurology ini, menunjukkan bahwa mereka yang memiliki kandungan lycopene yang tinggi di dalam darah mereka maka kecenderungan untuk terserang penyakit stroke akan menurun secara drastis.

"Penelitian ini menambah bukti bahwa mengonsumsi buah dan sayur secara rutin mampu menurunkan risiko beberapa penyakit berbahaya seperti stroke, penyakit jantung, hingga diabetes," jelas Dr Jouni Karppi dari Eastern Finland University.

Jadi masih menemukan alasan untuk tidak mengonsumsi buah dan sayur secara rutin?

Editor : Maulana Lee

Sumber :merdeka.com

> Konsumsi tomat secara rutin untuk cegah stroke

ANALISIS TANAMAN CABE

Melihat perkembangannya, akhir-akhir ini peran hortikultura umumnya dan sayuran khususnya banyak mendapat perhatian baik pemerintah maupun dari kalangan dunia usaha. Hal ini tidak lain karena, selain komoditas sayuran mempunyai prospek yang lebih baik, juga lebih menguntungkan bila dibandingkan dengan komoditas tanaman pangan seperti padi. Cabe merah sebagai salah satu komoditas sayuran, dari tahun ke tahun produktifitasnya juga terus meningkat. Peningkatan produksi ini menunjukan bahwa selain untuk mengimbangi jumlah permintaan yang terus bertambah akibat pertambahan jumlah penduduk, juga memberikan indikasi bahwa komoditas cabe dirasakanoleh petani menguntungkan daripada komoditas yang lain. Dengan semakin meningkatnya kebutuhan cabe baik untuk rumah tangga maupun industri dan sejalan dengan pertumbuhan penduduk dan pengembangan industri olahan, maka, peluang pengembangan usaha agribisnis cabe sangat terbuka luas. Usaha peningkatan produksi cabe yang sekaligus meningkatkan pendapatan petani, dapat dilakukan sejak budidaya sampai penanganan pasca panen yang baik dan benar. Untuk pembibitan,pengolahan,dll sudah kita bahas pada artikel sebelumnya Budidaya cabe pandaisikek berikut kita masuk pada hama dan penyakit cabe HAMA DAN PENYAKIT TANAMAN CABE Hama yang sering menyerang tanaman cabe adalah : – Ulat tanah atau Agrotis Ipsilon, – Thrips, – Ulat grayak atau Spodoptera litura, – Lalat buah atau Dacus verugenius, – Aphids hijau /kutu daun, – Tungau / mite, – Nematode puru akar. Ulat Tanah dengan nama latin Agrotis ipsilon, biasa menyerang tanaman cabe yang baru pindah tanam, yaitu dengan cara memotong batang utama tanaman hingga roboh bahkan bisa sampai putus. Untuk tindakan pencegahan dapat dilakukan penyemprotan insektisida Turex WP dengan konsentrasi 0,25 – 0,5 g/liter bergantian dengan insektisida Direct 25ec dengan konsentrasi 0,4 cc/liter atau insentisida Raydok 28ec dengan konsentrasi 0,25-0,5 cc/liter sehari sebelum pindah tanam. Ulat grayak pada tanaman cabe biasa menyerang daun, buah dan tanaman yang masih kecil. Untuk tindakan pengendalian dianjurkan menyemprot pada sore atau malam hari dengan insektisida biologi TurexWP bergantian dengan insektisida Raydok 28ec atau insektisida Direct 25ec. Lalat buah gejala awalnya adalah buah berlubang kecil, kulit buah menguning dan kalau dibelah biji cabe berwarna coklat kehitaman dan pada akhirnya buah rontok. Untuk pencegahan dan pengendalian dapat dilakukan dengan membuat perangkap dengan sexferomon atau dengan penyemprotan insektisida Winder 100EC dengan konsentrasi 0,5 sampai 1 cc per liter bergantian dengan insektisida Promectin 18ec dengan konsentrasi 0,25-0,5 cc/liter atau dengan insektisida Cyrotex 75sp dengan konsentrasi 0,3-0,6 g/liter. Hama Tungau atau mite menyerang tanaman cabe hingga daun berwarna kemerahan, menggulung ke atas, menebal akhirnya rontok. Untuk penengendalian dan pencegahan semprot dengan akarisida Samite 135EC dengan konsentrasi 0,25 – 0,5 ml / liter air bergantian dengan insektisida Promectin 18ec dengan konsentrasi 0,25-0,5 cc/liter. Tanaman yang terserang hama thrips, bunga akan mengering dan rontok. Sedangkan apabila menyerang bagian daun pada daun terdapat bercak keperakan dan menggulung. Jika daun terserang aphids, daun akan menggulung kedalam, keriting, menguning dan rontok. Untuk pencegahan dan pengendalian lakukan penyemprotan dengan insektisida Winder 25 WP dengan konsentrasi 100 – 200 gr / 500 liter air / ha atau dengan Winder 100EC 125 – 200 ml / 500 liter air / Ha bergantian dengan insektisida Promectin 18ec dengan konsentrasi 0,25-0,5 cc/liter. Nematoda merupakan organisme pengganggu tanaman yang menyerang daerah perakaran tanaman cabe. Jika tanaman terserang maka transportasi bahan makanan terhambat dan pertumbuhan tanaman terganggu. Selain itu kerusakan akibat nematode dapat memudahkan bakteri masuk dan mengakibatkan layu bakteri. Pencegahan yang efektif adalah dengan menanam varietas cabe yang tahan terhadap nematode dan melakukan penggiliran tanaman. Dan apabila lahan yang ditanami merupakan daerah endemi, pemberian nematisida dapat diberikan bersamaan dengan pemupukan. Penyakit yang sering menyerang tanaman cabe diantaranya adalah · Rebah semai · Layu Fusarium · Layu bakteri · Antraknose / patek · Busuk Phytophthora · Bercak daun Cercospora · Penyakit Virus Penyakit anthracnose buah. Gejala awalnya adalah kulit buah akan tampak mengkilap, selanjutnya akan timbul bercak hitam yang kemudian meluas dan akhirnya membusuk. Untuk pengendaliannya semprot dengan fungisida Kocide 54 WDG dengan konsentrasi 1 sampai 2 g / l air bergantian dengan fungisida Victory 80wp dengan konsentrasi 1 – 2 g / liter air. Penyakit busuk Phytopthora gejalanya adalah bagian tanaman yang terserang terdapat bercak coklat kehitaman dan lama kelamaan membusuk. Penyakit ini dapat menyerang tanaman cabe pada bagian daun, batang maupun buah. Pengendaliannya adalah dengan menyemprot fungisida Kocide 77 wp dengan dosis 1,5 – 3 kg / Ha bergantian dengan fungisida Victory 80WP konsentarsi 2 sampai 4 gram / liter dicampur dengan fungisida sistemik Starmyl 25 wp dengan dosis 0,8 – 1 g / liter. Rebah semai ( dumping off ) . Penyakit ini biasanya menyerang tanaman saat dipersemaian. Jamur penyebabnya adalah Phytium sp. Untuk tindakan pencegahan dapat dilakukan perlakuan benih dengan Saromyl 35SD dan menyemprot fungisida sistemik Starmyl 25WP saat dipersemaian dan saat pindah tanam dengan konsentrasi 0,5 sampai 1 gram / liter. Penyakit layu fusarium dan layu bakteri pada tanaman cabe biasanya mulai menyerang tanaman saat fase generatif. Untuk mencegahnya dianjurkan penyiraman Kocide 77WP pada lubang tanam dengan konsentrasi 5 gram / liter / lima tanaman, mulai saat tanaman menjelang berbunga dengan interval 10 sampai 14 hari. Penyakit bercak daun cabe disebabkan oleh cendawan Cercospora capsici. Gejalanya berupa bercak bercincin, berwarna putih pada tengahnya dan coklat kehitaman pada tepinya. Pencegahannya dapat dilakukan dengan menyemprot fungisida Kocide 54WDG konsentrasi 1,5 sampai 3 gram / liter bergantian dengan fungisida Victory 80WP konsentrasi 2 sampai 4 gram / liter dengan interval 7 hari. Penyakit mozaik virus. Saat ini belum ada pestisida yang mampu mengendalikan penyakit mozaik virus ini. Dan sebagai tindakan pencegahan dapat dilakukan pengendalian terhadap hewan pembawa virus tersebut yaitu aphids. Untuk pencegahan serangan hama penyakit, gunakan benih cabe hibrida yang tahan terhadap serangan hama penyakit dan yang telah diberi perlakuan pestisida. Apabila terjadi serangan atau untuk tujuan pencegahan lakukan aplikasi pestisida sesuai OPT yang menyerang atau sesuai petunjuk petugas penyuluh lapang. PANEN Pada saat tanaman berumur 75 – 85 hst yang ditandai dengan buahnya yang padat dan warna merah menyala, buah cabe siap dilakukan pemanenan pertama. Umur panen cabe tergantung varietas yang digunakan, lokasi penanaman dan kombinasi pemupukan yang digunakan serta kesehatan tanaman. Tanaman cabe dapat dipanen setiap 2 – 5 hari sekali tergantung dari luas penanaman dan kondisi pasar. Pemanenan dilakukan dengan cara memetik buah beserta tangkainya yang bertujuan agar cabe dapat disimpan lebih lama. Buah cabe yang rusak akibat hama atau penyakit harus tetap di panen agar tidak menjadi sumber penyakit bagi tanaman cabe sehat. Pisahkan buah cabe yang rusak dari buah cabe yang sehat. Waktu panen sebaiknya dilakukan pada pagi hari karena bobot buah dalam keadaan optimal akibat penimbunan zat pada malam hari dan belum terjadi penguapan. PASCA PANEN CABE Hasil panen yang telah dipisahkan antara cabe yang sehat dan yang rusak, selanjutnya dikumpulkan di tempat yang sejuk atau teduh sehingga cabe tetap segar . Untuk mendapatkan harga yang lebih baik, hasil panen dikelompokkan berdasarkan standar kualitas permintaan pasar seperti untuk supermarket, pasar lokal maupun pasar eksport. Setelah buah cabe dikelompokkan berdasarkan kelasnya, maka pengemasan perlu dilakukan untuk melindungi buah cabe dari kerusakan selama dalam pengangkutan. Kemasan dapat dibuat dari berbagai bahan dengan memberikan ventilasi. Cabe siap didistribusikan ke konsumen yang membutuhkan cabe segar. Dengan penerapan teknologi budidaya, penangganan pasca panen yang benar dan tepat serta penggunaan benih hibrida yang tahan hama penyakit dapat meningkatkan produksi cabe yang saat ini banyak dibutuhkan. Untuk melihat analisis keuntungan atau kerugian dari budidaya cabe klik ling berikut > ANALISIS TANAMAN CABE

DADALI DISAAT AKU MENCINTAIMU

    saco-indonesia.com,

    mengapa kau pergi, mengapa kau pergi

    di saat aku mulai mencintaimu

    berharap engkau jadi kekasih hatiku

    malah kau pergi jauh dari hidupku

     

    menyendiri lagi, menyendiri lagi

    di saat kau tinggalkan diriku pergi

    tak pernah ada yang menghiasi hariku

    di saat aku terbangun dari tidurku

     

    reff:

    aku inginkan dirimu datang dan temui aku

    kan ku katakan padamu aku sangat mencintai dirimu

    aku inginkan dirimu datang dan temui aku

    kan ku katakan padamu aku sangat mencinta

     

    menyendiri lagi, menyendiri lagi

    di saat kau tinggalkan diriku pergi

    tak pernah ada yang menghiasi hariku

    di saat aku terbangun dari tidurku

     

    repeat reff

     

    semoga engkau kan mengerti tentang perasaan ini

    maaf ku telah terbuai akan indahnya cinta (indahnya cinta)

    maaf sungguh ku tak bisa (tak bisa) untuk kembali padamu

    maaf ku telah terbuai akan indahnya cinta

     

    repeat reff

    Editor : dian sukmawati

 

> DADALI DISAAT AKU MENCINTAIMU

Don Mankiewicz, Screenwriter in a Family Film Tradition, Dies at 93

Mr. Mankiewicz, an Oscar-nominated screenwriter for “I Want to Live!,” also wrote episodes of television shows such as “Star Trek” and “Marcus Welby, M.D.”

Don Mankiewicz, Screenwriter in a Family Film Tradition, Dies at 93 | PAKET UMROH BULAN JANUARI 2016

Marty Napoleon, 93, Dies; Jazz Pianist Played With Louis Armstrong

Mr. Napoleon was a self-taught musician whose career began in earnest with the orchestra led by Chico Marx of the Marx Brothers.

Marty Napoleon, 93, Dies; Jazz Pianist Played With Louis Armstrong | PAKET UMROH BULAN JANUARI 2016

From T Magazine: Street Lit’s Power Couple

THE WRITERS ASHLEY AND JAQUAVIS COLEMAN know the value of a good curtain-raiser. The couple have co-authored dozens of novels, and they like to start them with a bang: a headlong action sequence, a blast of violence or sex that rocks readers back on their heels. But the Colemans concede they would be hard-pressed to dream up anything more gripping than their own real-life opening scene.

In the summer of 2001, JaQuavis Coleman was a 16-year-old foster child in Flint, Mich., the former auto-manufacturing mecca that had devolved, in the wake of General Motors’ plant closures, into one of the country’s most dangerous cities, with a decimated economy and a violent crime rate more than three times the national average. When JaQuavis was 8, social services had removed him from his mother’s home. He spent years bouncing between foster families. At 16, JaQuavis was also a businessman: a crack dealer with a network of street-corner peddlers in his employ.

One day that summer, JaQuavis met a fellow dealer in a parking lot on Flint’s west side. He was there to make a bulk sale of a quarter-brick, or “nine-piece” — a nine-ounce parcel of cocaine, with a street value of about $11,000. In the middle of the transaction, JaQuavis heard the telltale chirp of a walkie-talkie. His customer, he now realized, was an undercover policeman. JaQuavis jumped into his car and spun out onto the road, with two unmarked police cars in pursuit. He didn’t want to get into a high-speed chase, so he whipped his car into a church parking lot and made a run for it, darting into an alleyway behind a row of small houses, where he tossed the quarter-brick into some bushes. When JaQuavis reached the small residential street on the other side of the houses, he was greeted by the police, who handcuffed him and went to search behind the houses where, they told him, they were certain he had ditched the drugs. JaQuavis had been dealing since he was 12, had amassed more than $100,000 and had never been arrested. Now, he thought: It’s over.

But when the police looked in the bushes, they couldn’t find any cocaine. They interrogated JaQuavis, who denied having ever possessed or sold drugs. They combed the backyard alley some more. After an hour of fruitless efforts, the police were forced to unlock the handcuffs and release their suspect.

JaQuavis was baffled by the turn of events until the next day, when he received a phone call. The previous afternoon, a 15-year-old girl had been sitting in her home on the west side of Flint when she heard sirens. She looked out of the window of her bedroom, and watched a young man throw a package in the bushes behind her house. She recognized him. He was a high school classmate — a handsome, charismatic boy whom she had admired from afar. The girl crept outside and grabbed the bundle, which she hid in her basement. “I have something that belongs to you,” Ashley Snell told JaQuavis Coleman when she reached him by phone. “You wanna come over here and pick it up?”

Photo
Three of the nearly 50 works of urban fiction published by the Colemans over the last decade, often featuring drug deals, violence, sex and a brash kind of feminism.Credit Marko Metzinger

In the Colemans’ first novel, “Dirty Money” (2005), they told a version of this story. The outline was the same: the drug deal gone bad, the dope chucked in the bushes, the fateful phone call. To the extent that the authors took poetic license, it was to tone down the meet-cute improbability of the true-life events. In “Dirty Money,” the girl, Anari, and the crack dealer, Maurice, circle each other warily for a year or so before coupling up. But the facts of Ashley and JaQuavis’s romance outstripped pulp fiction. They fell in love more or less at first sight, moved into their own apartment while still in high school and were married in 2008. “We were together from the day we met,” Ashley says. “I don’t think we’ve spent more than a week apart in total over the past 14 years.”

That partnership turned out to be creative and entrepreneurial as well as romantic. Over the past decade, the Colemans have published nearly 50 books, sometimes as solo writers, sometimes under pseudonyms, but usually as collaborators with a byline that has become a trusted brand: “Ashley & JaQuavis.” They are marquee stars of urban fiction, or street lit, a genre whose inner-city settings and lurid mix of crime, sex and sensationalism have earned it comparisons to gangsta rap. The emergence of street lit is one of the big stories in recent American publishing, a juggernaut that has generated huge sales by catering to a readership — young, black and, for the most part, female — that historically has been ill-served by the book business. But the genre is also widely maligned. Street lit is subject to a kind of triple snobbery: scorned by literati who look down on genre fiction generally, ignored by a white publishing establishment that remains largely indifferent to black books and disparaged by African-American intellectuals for poor writing, coarse values and trafficking in racial stereotypes.

But if a certain kind of cultural prestige is shut off to the Colemans, they have reaped other rewards. They’ve built a large and loyal fan base, which gobbles up the new Ashley & JaQuavis titles that arrive every few months. Many of those books are sold at street-corner stands and other off-the-grid venues in African-American neighborhoods, a literary gray market that doesn’t register a blip on best-seller tallies. Yet the Colemans’ most popular series now regularly crack the trade fiction best-seller lists of The New York Times and Publishers Weekly. For years, the pair had no literary agent; they sold hundreds of thousands of books without banking a penny in royalties. Still, they have earned millions of dollars, almost exclusively from cash-for-manuscript deals negotiated directly with independent publishing houses. In short, though little known outside of the world of urban fiction, the Colemans are one of America’s most successful literary couples, a distinction they’ve achieved, they insist, because of their work’s gritty authenticity and their devotion to a primal literary virtue: the power of the ripping yarn.

“When you read our books, you’re gonna realize: ‘Ashley & JaQuavis are storytellers,’ ” says Ashley. “Our tales will get your heart pounding.”

THE COLEMANS’ HOME BASE — the cottage from which they operate their cottage industry — is a spacious four-bedroom house in a genteel suburb about 35 miles north of downtown Detroit. The house is plush, but when I visited this past winter, it was sparsely appointed. The couple had just recently moved in, and had only had time to fully furnish the bedroom of their 4-year-old son, Quaye.

In conversation, Ashley and JaQuavis exude both modesty and bravado: gratitude for their good fortune and bootstrappers’ pride in having made their own luck. They talk a lot about their time in the trenches, the years they spent as a drug dealer and “ride-or-die girl” tandem. In Flint they learned to “grind hard.” Writing, they say, is merely a more elevated kind of grind.

“Instead of hitting the block like we used to, we hit the laptops,” says Ashley. “I know what every word is worth. So while I’m writing, I’m like: ‘Okay, there’s a hundred dollars. There’s a thousand dollars. There’s five thousand dollars.’ ”

They maintain a rigorous regimen. They each try to write 5,000 words per day, five days a week. The writers stagger their shifts: JaQuavis goes to bed at 7 p.m. and wakes up early, around 3 or 4 in the morning, to work while his wife and child sleep. Ashley writes during the day, often in libraries or at Starbucks.

They divide the labor in other ways. Chapters are divvied up more or less equally, with tasks assigned according to individual strengths. (JaQuavis typically handles character development. Ashley loves writing murder scenes.) The results are stitched together, with no editorial interference from one author in the other’s text. The real work, they contend, is the brainstorming. The Colemans spend weeks mapping out their plot-driven books — long conversations that turn into elaborate diagrams on dry-erase boards. “JaQuavis and I are so close, it makes the process real easy,” says Ashley. “Sometimes when I’m thinking of something, a plot point, he’ll say it out loud, and I’m like: ‘Wait — did I say that?’ ”

Their collaboration developed by accident, and on the fly. Both were bookish teenagers. Ashley read lots of Judy Blume and John Grisham; JaQuavis liked Shakespeare, Richard Wright and “Atlas Shrugged.” (Their first official date was at a Borders bookstore, where Ashley bought “The Coldest Winter Ever,” the Sister Souljah novel often credited with kick-starting the contemporary street-lit movement.) In 2003, Ashley, then 17, was forced to terminate an ectopic pregnancy. She was bedridden for three weeks, and to provide distraction and boost her spirits, JaQuavis challenged his girlfriend to a writing contest. “She just wasn’t talking. She was laying in bed. I said, ‘You know what? I bet you I could write a better book than you.’ My wife is real competitive. So I said, ‘Yo, all right, $500 bet.’ And I saw her eyes spark, like, ‘What?! You can’t write no better book than me!’ So I wrote about three chapters. She wrote about three chapters. Two days later, we switched.”

The result, hammered out in a few days, would become “Dirty Money.” Two years later, when Ashley and JaQuavis were students at Ferris State University in Western Michigan, they sold the manuscript to Urban Books, a street-lit imprint founded by the best-selling author Carl Weber. At the time, JaQuavis was still making his living selling drugs. When Ashley got the phone call informing her that their book had been bought, she assumed they’d hit it big, and flushed more than $10,000 worth of cocaine down the toilet. Their advance was a mere $4,000.

Photo
The roots of street lit, found in the midcentury detective novels of Chester Himes and the ‘60s and ‘70s “ghetto fiction” of Iceberg Slim and Donald Goines.Credit Marko Metzinger

Those advances would soon increase, eventually reaching five and six figures. The Colemans built their career, JaQuavis says, in a manner that made sense to him as a veteran dope peddler: by flooding the street with product. From the start, they were prolific, churning out books at a rate of four or five a year. Their novels made their way into stores; the now-defunct chain Waldenbooks, which had stores in urban areas typically bypassed by booksellers, was a major engine of the street-lit market. But Ashley and JaQuavis took advantage of distribution channels established by pioneering urban fiction authors such as Teri Woods and Vickie Stringer, and a network of street-corner tables, magazine stands, corner shops and bodegas. Like rappers who establish their bona fides with gray-market mixtapes, street-lit authors use this system to circumnavigate industry gatekeepers, bringing their work straight to the genre’s core readership. But urban fiction has other aficionados, in less likely places. “Our books are so popular in the prison system,” JaQuavis says. “We’re banned in certain penitentiaries. Inmates fight over the books — there are incidents, you know? I have loved ones in jail, and they’re like: ‘Yo, your books can’t come in here. It’s against the rules.’ ”

The appeal of the Colemans’ work is not hard to fathom. The books are formulaic and taut; they deliver the expected goods efficiently and exuberantly. The titles telegraph the contents: “Diary of a Street Diva,” “Kiss Kiss, Bang Bang,” “Murderville.” The novels serve up a stream of explicit sex and violence in a slangy, tangy, profane voice. In Ashley & JaQuavis’s books people don’t get killed: they get “popped,” “laid out,” get their “cap twisted back.” The smut is constant, with emphasis on the earthy, sticky, olfactory particulars. Romance novel clichés — shuddering orgasms, heroic carnal feats, superlative sexual skill sets — are rendered in the Colemans’ punchy patois.

Subtlety, in other words, isn’t Ashley & JaQuavis’s forte. But their books do have a grainy specificity. In “The Cartel” (2008), the first novel in the Colemans’ best-selling saga of a Miami drug syndicate, they catch the sights and smells of a crack workshop in a housing project: the nostril-stinging scent of cocaine and baking soda bubbling on stovetops; the teams of women, stripped naked except for hospital masks so they can’t pilfer the merchandise, “cutting up the cooked coke on the round wood table.” The subject matter is dark, but the Colemans’ tone is not quite noir. Even in the grimmest scenes, the mood is high-spirited, with the writers palpably relishing the lewd and gory details: the bodies writhing in boudoirs and crumpling under volleys of bullets, the geysers of blood and other bodily fluids.

The luridness of street lit has made it a flashpoint, inciting controversy reminiscent of the hip-hop culture wars of the 1980s and ’90s. But the street-lit debate touches deeper historical roots, reviving decades-old arguments in black literary circles about the mandate to uplift the race and present wholesome images of African-Americans. In 1928, W. E. B. Du Bois slammed the “licentiousness” of “Home to Harlem,” Claude McKay’s rollicking novel of Harlem nightlife. McKay’s book, Du Bois wrote, “for the most part nauseates me, and after the dirtier parts of its filth I feel distinctly like taking a bath.” Similar sentiments have greeted 21st-century street lit. In a 2006 New York Times Op-Ed essay, the journalist and author Nick Chiles decried “the sexualization and degradation of black fiction.” African-American bookstores, Chiles complained, are “overrun with novels that . . . appeal exclusively to our most prurient natures — as if these nasty books were pairing off back in the stockrooms like little paperback rabbits and churning out even more graphic offspring that make Ralph Ellison books cringe into a dusty corner.”

Copulating paperbacks aside, it’s clear that the street-lit debate is about more than literature, touching on questions of paternalism versus populism, and on middle-class anxieties about the black underclass. “It’s part and parcel of black elites’ efforts to define not only a literary tradition, but a racial politics,” said Kinohi Nishikawa, an assistant professor of English and African-American Studies at Princeton University. “There has always been a sense that because African-Americans’ opportunities to represent themselves are so limited in the first place, any hint of criminality or salaciousness would necessarily be a knock on the entire racial politics. One of the pressing debates about African-American literature today is: If we can’t include writers like Ashley & JaQuavis, to what extent is the foundation of our thinking about black literature faulty? Is it just a literature for elites? Or can it be inclusive, bringing urban fiction under the purview of our umbrella term ‘African-American literature’?”

Defenders of street lit note that the genre has a pedigree: a tradition of black pulp fiction that stretches from Chester Himes, the midcentury author of hardboiled Harlem detective stories, to the 1960s and ’70s “ghetto fiction” of Iceberg Slim and Donald Goines, to the current wave of urban fiction authors. Others argue for street lit as a social good, noting that it attracts a large audience that might otherwise never read at all. Scholars like Nishikawa link street lit to recent studies showing increased reading among African-Americans. A 2014 Pew Research Center report found that a greater percentage of black Americans are book readers than whites or Latinos.

For their part, the Colemans place their work in the broader black literary tradition. “You have Maya Angelou, Alice Walker, James Baldwin — all of these traditional black writers, who wrote about the struggles of racism, injustice, inequality,” says Ashley. “We’re writing about the struggle as it happens now. It’s just a different struggle. I’m telling my story. I’m telling the struggle of a black girl from Flint, Michigan, who grew up on welfare.”

Photo
The Colemans in their new four-bedroom house in the northern suburbs of Detroit.Credit Courtesy of Ashley and JaQuavis Coleman

Perhaps there is a high-minded case to be made for street lit. But the virtues of Ashley & JaQuavis’s work are more basic. Their novels do lack literary polish. The writing is not graceful; there are passages of clunky exposition and sex scenes that induce guffaws and eye rolls. But the pleasure quotient is high. The books flaunt a garish brand of feminism, with women characters cast not just as vixens, but also as gangsters — cold-blooded killers, “murder mamas.” The stories are exceptionally well-plotted. “The Cartel” opens by introducing its hero, the crime boss Carter Diamond; on page 9, a gunshot spatters Diamond’s brain across the interior of a police cruiser. The book then flashes back seven years and begins to hurtle forward again — a bullet train, whizzing readers through shifting alliances, romantic entanglements and betrayals, kidnappings, shootouts with Haitian and Dominican gangsters, and a cliffhanger closing scene that leaves the novel’s heroine tied to a chair in a basement, gruesomely tortured to the edge of death. Ashley & JaQuavis’s books are not Ralph Ellison, certainly, but they build up quite a head of steam. They move.

The Colemans are moving themselves these days. They recently signed a deal with St. Martin’s Press, which will bring out the next installment in the “Cartel” series as well as new solo series by both writers. The St. Martin’s deal is both lucrative and legitimizing — a validation of Ashley and JaQuavis’s work by one of publishing’s most venerable houses. The Colemans’ ambitions have grown, as well. A recent trilogy, “Murderville,” tackles human trafficking and the blood-diamond industry in West Africa, with storylines that sweep from Sierra Leone to Mexico to Los Angeles. Increasingly, Ashley & JaQuavis are leaning on research — traveling to far-flung settings and hitting the books in the libraries — and spending less time mining their own rough-and-tumble past.

But Flint remains a source of inspiration. One evening not long ago, JaQuavis led me on a tour of his hometown: a popular roadside bar; the parking lot where he met the undercover cop for the ill-fated drug deal; Ashley’s old house, the site of his almost-arrest. He took me to a ramshackle vehicle repair shop on Flint’s west side, where he worked as a kid, washing cars. He showed me a bathroom at the rear of the garage, where, at age 12, he sneaked away to inspect the first “boulder” of crack that he ever sold. A spray-painted sign on the garage wall, which JaQuavis remembered from his time at the car wash, offered words of warning:

WHAT EVERY YOUNG MAN SHOULD KNOW
ABOUT USING A GUN:
MURDER . . . 30 Years
ARMED ROBBERY . . . 15 Years
ASSAULT . . . 15 Years
RAPE . . . 20 Years
POSSESSION . . . 5 Years
JACKING . . . 20 YEARS

“We still love Flint, Michigan,” JaQuavis says. “It’s so seedy, so treacherous. But there’s some heart in this city. This is where it all started, selling books out the box. In the days when we would get those little $40,000 advances, they’d send us a couple boxes of books for free. We would hit the streets to sell our books, right out of the car trunk. It was a hustle. It still is.”

One old neighborhood asset that the Colemans have not shaken off is swagger. “My wife is the best female writer in the game,” JaQuavis told me. “I believe I’m the best male writer in the game. I’m sleeping next to the best writer in the world. And she’s doing the same.”

 
From T Magazine: Street Lit’s Power Couple | PAKET UMROH BULAN JANUARI 2016

Marcel Pronovost, 84, Dies; Hall of Famer Shared in Five N.H.L. Titles

Pronovost, who played for the Red Wings, was not a prolific scorer, but he was a consummate team player with bruising checks and fearless bursts up the ice that could puncture a defense.

Marcel Pronovost, 84, Dies; Hall of Famer Shared in Five N.H.L. Titles | PAKET UMROH BULAN JANUARI 2016

Negative View of U.S. Race Relations Grows, Poll Finds

Public perceptions of race relations in America have grown substantially more negative in the aftermath of the death of a young black man who was injured while in police custody in Baltimore and the subsequent unrest, far eclipsing the sentiment recorded in the wake of turmoil in Ferguson, Mo., last summer.

Americans are also increasingly likely to say that the police are more apt to use deadly force against a black person, the latest New York Times/CBS News poll finds.

The poll findings highlight the challenges for local leaders and police officials in trying to maintain order while sustaining faith in the criminal justice system in a racially polarized nation.

Sixty-one percent of Americans now say race relations in this country are generally bad. That figure is up sharply from 44 percent after the fatal police shooting of Michael Brown and the unrest that followed in Ferguson in August, and 43 percent in December. In a CBS News poll just two months ago, 38 percent said race relations were generally bad. Current views are by far the worst of Barack Obama’s presidency.

The negative sentiment is echoed by broad majorities of blacks and whites alike, a stark change from earlier this year, when 58 percent of blacks thought race relations were bad, but just 35 percent of whites agreed. In August, 48 percent of blacks and 41 percent of whites said they felt that way.

Looking ahead, 44 percent of Americans think race relations are worsening, up from 36 percent in December. Forty-one percent of blacks and 46 percent of whites think so. Pessimism among whites has increased 10 points since December.

Continue reading the main story
Do you think race relations in the United States are generally good or generally bad?
60
40
20
0
White
Black
May '14
May '15
Generally bad
Continue reading the main story
Do you think race relations in the United States are getting better, getting worse or staying about the same?
Getting worse
Staying the same
Getting better
Don't know/No answer
All adults
Whites
Blacks
44%
37
17
46
36
16
41
42
15

The poll finds that profound racial divisions in views of how the police use deadly force remain. Blacks are more than twice as likely to say police in most communities are more apt to use deadly force against a black person — 79 percent of blacks say so compared with 37 percent of whites. A slim majority of whites say race is not a factor in a police officer’s decision to use deadly force.

Overall, 44 percent of Americans say deadly force is more likely to be used against a black person, up from 37 percent in August and 40 percent in December.

Blacks also remain far more likely than whites to say they feel mostly anxious about the police in their community. Forty-two percent say so, while 51 percent feel mostly safe. Among whites, 8 in 10 feel mostly safe.

One proposal to address the matter — having on-duty police officers wear body cameras — receives overwhelming support. More than 9 in 10 whites and blacks alike favor it.

Continue reading the main story
How would you describe your feelings about the police in your community? Would you say they make you feel mostly safe or mostly anxious?
Mostly safe
Mostly anxious
Don't know/No answer
All adults
Whites
Blacks
75%
21
3
81
16
3
51
42
7
Continue reading the main story
In general, do you think the police in most communities are more likely to use deadly force against a black person, or more likely to use it against a white person, or don’t you think race affects police use of deadly force?
Police more likely to use deadly force against a black person
Police more likely to use deadly force against a white person
Race DOES NOT affect police use of deadly force
Don't know/No answer
All adults
Whites
Blacks
44%
37%
79%
2%
2%
1%
46%
53%
16%
9%
8%
4%
Continue reading the main story
Do you favor or oppose on-duty police officers wearing video cameras that would record events and actions as they occur?
Favor
Oppose
Don't know/No answer
All adults
Whites
Blacks
92%
93%
93%
6%
5%
5%
2%
2%
2%

Asked specifically about the situation in Baltimore, most Americans expressed at least some confidence that the investigation by local authorities would be conducted fairly. But while nearly two-thirds of whites think so, fewer than half of blacks agree. Still, more blacks are confident now than were in August regarding the investigation in Ferguson. On Friday, six members of the police force involved in the arrest of Mr. Gray were charged with serious offenses, including manslaughter. The poll was conducted Thursday through Sunday; results from before charges were announced are similar to those from after.

Reaction to the recent turmoil in Baltimore, however, is similar among blacks and whites. Most Americans, 61 percent, say the unrest after Mr. Gray’s death was not justified. That includes 64 percent of whites and 57 percent of blacks.

Continue reading the main story
As you may know, a Baltimore man, Freddie Gray, recently died after being in the custody of the Baltimore police. How much confidence do you have that the investigation by local authorities into this matter will be conducted fairly?
A lot
Some
Not much
None at all
Don't know/No answer
All adults
Whites
Blacks
29%
31
22
14
5
31
33
20
11
5
20
26
30
22
In general, do you think the unrest in Baltimore after the death of Freddie Gray was justified, or do you think the unrest was not justified?
Justified
Not justified
Don't know/No answer
All adults
Whites
Blacks
28%
61
11
26
64
11
37
57
6

Negative View of U.S. Race Relations Grows, Poll Finds | PAKET UMROH BULAN JANUARI 2016

Hard but Hopeful Home to ‘Lot of Freddies’

Children playing last week in Sandtown-Winchester, the Baltimore neighborhood where Freddie Gray was raised. One young resident called it “a tough community.”
Todd Heisler/The New York Times

Children playing last week in Sandtown-Winchester, the Baltimore neighborhood where Freddie Gray was raised. One young resident called it “a tough community.”

Hard but Hopeful Home to ‘Lot of Freddies’

Hard but Hopeful Home to ‘Lot of Freddies’ | PAKET UMROH BULAN JANUARI 2016

Rolf Smedvig, Trumpeter in the Empire Brass, Dies at 62

A former member of the Boston Symphony Orchestra, Mr. Smedvig helped found the wide-ranging Empire Brass quintet.

Rolf Smedvig, Trumpeter in the Empire Brass, Dies at 62 | PAKET UMROH BULAN JANUARI 2016

Mike Phillips, Half of Kentucky’s ‘Twin Towers’ of Basketball, Dies at 59

The 6-foot-10 Phillips played alongside the 6-11 Rick Robey on the Wildcats team that won the 1978 N.C.A.A. men’s basketball title.

Mike Phillips, Half of Kentucky’s ‘Twin Towers’ of Basketball, Dies at 59 | PAKET UMROH BULAN JANUARI 2016

Ben E. King, Soulful Singer of ‘Stand by Me,’ Dies at 76

Mr. King sang for the Drifters and found success as a solo performer with hits like “Spanish Harlem.”

Ben E. King, Soulful Singer of ‘Stand by Me,’ Dies at 76 | PAKET UMROH BULAN JANUARI 2016

Verne Gagne, Wrestler Who Grappled Through Two Eras, Dies at 89

Gagne wrestled professionally from the late 1940s until the 1980s and was a transitional figure between the early 20th century barnstormers and the steroidal sideshows of today

Verne Gagne, Wrestler Who Grappled Through Two Eras, Dies at 89 | PAKET UMROH BULAN JANUARI 2016

Sid Tepper Dies at 96; Delivered ‘Red Roses for a Blue Lady’ and Other Songs

Mr. Tepper was not a musical child and had no formal training, but he grew up to write both lyrics and tunes, trading off duties with the other member of the team, Roy C. Bennett.

Sid Tepper Dies at 96; Delivered ‘Red Roses for a Blue Lady’ and Other Songs | PAKET UMROH BULAN JANUARI 2016

Betsy von Furstenberg, Baroness and Versatile Actress, Dies at 83

Ms. von Furstenberg made her debut in the movies and on the Broadway stage in the early 1950s as a teenager and later reinvented herself as a television actress, writer and philanthropist.

Betsy von Furstenberg, Baroness and Versatile Actress, Dies at 83 | PAKET UMROH BULAN JANUARI 2016

Native American Actors Work to Overcome a Long-Documented Bias

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Native American Actors Work to Overcome a Long-Documented Bias | PAKET UMROH BULAN JANUARI 2016

How Some Men Fake an 80-Hour Workweek, and Why It Matters

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

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

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

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Credit Peter Arkle

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

How Some Men Fake an 80-Hour Workweek, and Why It Matters | PAKET UMROH BULAN JANUARI 2016

Robert Patterson Jr., Lawyer and Judge Who Fought for the Accused, Dies at 91

Judge Patterson helped to protect the rights of Attica inmates after the prison riot in 1971 and later served on the Federal District Court in Manhattan.

Robert Patterson Jr., Lawyer and Judge Who Fought for the Accused, Dies at 91 | PAKET UMROH BULAN JANUARI 2016

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