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Saco-Indonesia.com - Asus merilis sebuah perangkat unik bernama Transformer Book Trio pada ajang Computex 2013 Taiwan, Senin (3/6/2013) kemarin.
Produk ini terbilang unik karena memili tiga fungsi sekaligus, yaitu sebagai notebook, tablet, dan PC.
Perangkat tersebut sebenarnya adalah sebuah produk dockable tablet. Artinya, layar dari perangkat ini bisa dicabut dengan mudah dari dock keyboard. Saat dicabut, layar tersebut akan berfungsi sebagai tablet.
Apabila layar berukuran 11,6 inci tersebut ditancapkan ke dock keyboard, maka perangkat akan berfungsi sebagai notebook.
Docking keyboard pun dapat disulap menjadi PC. Apabila bagian ini dihubungkan layar monitor, maka perangkat tersebut dapat dioperasikan menjadi PC desktop.
Selain tiga fungsi tersebut, Asus Transformer Book Trio memiliki sebuah keunikan lain. Keunikan ini berkaitan dengan kata "dua", yaitu dua sistem operasi dan dua prosesor.
Dikutip dari The Verge, kedua sistem operasi yang mempersenjatai perangkat ini adalah Android Jelly Bean besutan Google dan Windows 8 buatan Microsoft.
Bagaimana cara kerjanya? Di produk tersebut, terdapat sebuah tombol "ajaib" yang mengizinkan penggunanya untuk berpindah antar-kedua sistem operasi tersebut dengan mudah.
Sebagai catatan, tombol khusus ini hanya bekerja apabila layar ditancapkan ke dock keyboard. Saat pengguna mencabutnya, dalam mode tablet, perangkat ini hanya mampu menjalankan sistem operasi Android.
Perangkat ini juga dipersenjatai dengan dua buah prosesor, yaitu Intel Core i7-4500U Haswell untuk sistem operasi Windows 8 dan Intel Atom Z2580 2GHz untuk Android.
Prosesor pertama diletakan di bagian dock keyboard, sedangkan Intel Atom dipersenjatai di bagian layar.
Hadir dengan fungsi dual, perangkat ini memiliki dua baterai. Baterai pertama ada di bagian dock keyboard dan memiliki kapasitas 33WHr. Sedangkan baterai kedua ada di bagian layar dan berkapasitas 19,5WHr. Jika digabungkan, keduanya diklaim mampu hidup selama 15 jam.
Media penyimpanan di antara keduanya pun berbeda. Di bagian dock keyboard, terdapat hadir disk dengan kapasitas 1TB. Di bagian layar, terdapat SSD berkapasitas 64GB.
Belum ada konfirmasi harga dari Asus untuk perangkat ini. Namun, Asus mengungkapkan, Transformer Book Trio akan diluncurkan pada kuartal 3 tahun 2013.
saco-indonesia.com, Meski sudah memutuskan untuk berhenti dari karir sebagai pesepakbola, pesona David Beckham tak jua luntur. Bahkan jasanya telah diminati klub Bolivia, Bolivar.
Gelandang Inggris yang saat ini berusia 38 tahun itu juga sudah memutuskan gantung sepatu usai membantu Paris Saint-Germain untuk mengunci gelar juara Ligue 1 musim kemarin. Namun Bolivar berencana untuk memancingnya keluar dari masa pensiun, setidaknya untuk sementara.
"Ya, memang benar, kami telah inginkan Beckham untuk tampil satu laga membela Bolivar," ujar direktur marketing klub, Salomon Chalan pada Globo Esporte.
Ia juga menambahkan jika pembicaraan antara pemilik perusahaan yang telah mengelola Bolivar, Marcelo Claure dengan eks Manchester United dan Real Madrid itu - yang kebetulan adalah sahabatnya, baru sampai tahap dini. "Saya juga belum tahu apakah ia nanti akan bermain di Copa Libertadores atau persahabatan, masalah ini cukup rumit," imbuhnya.
> KLUB BOLIVIA RAYU BACKHAM MERUMPUT LAGI
Editor : Dian Sukmawati
DETIK-DETIK WAFATNYA NABI MUHAMMAD SAW ::
Sebelum malaikat Izrail diperintah Allah SWT untuk mencabut nyawa Nabi Muhammad SAW, Allah SWT berpesan kepada malaikat Jibril. “Hai Jibril, jika kekasih-Ku menolaknya, laranglah Izrail melakukan tugasnya!” Sungguh berharganya manusia yang satu ini yang tidak lain adalah Nabi Muhammad SAW.
Di rumah Nabi Muhammad SAW, Tiba-tiba dari luar pintu terdengar seorang yang berseru mengucapkan salam. “Bolehkah saya masuk?” tanyanya. Tapi Fatimah tidak mengizinkannya masuk sambil berkata, “Maafkanlah, ayahku sedang demam” kata Fatimah yang membalikkan badan dan menutup pintu. Kemudian Fatimah kembali menemani Nabi Muhammad SAW yang ternyata sudah membuka mata dan bertanya pada Fatimah, “Siapakah itu wahai anakku?”. “Tak tahulah ayahku, sepertinya orang baru, karena baru sekali ini aku melihatnya” tutur Fatimah lembut.
Lalu, Rasulullah menatap puterinya dengan pandangan yang menggetarkan. Seolah-olah bahagian demi bahagian wajah anaknya itu hendak dikenang. “Ketahuilah wahai anakku, dialah yang menghapuskan kenikmatan sementara, dialah yang memisahkan pertemuan di dunia. Dialah malaikatul maut” kata Rasulullah, Fatimah pun menahan ledakan tangisnya. Malaikat maut pun datang menghampiri, tapi Rasulullah menanyakan kenapa Jibril tidak ikut bersama menyertainya.
Kemudian dipanggillah Jibril yang sebelumnya sudah bersiap di atas langit dunia menyambut ruh kekasih Allah SWT dan penghulu dunia ini. “Jibril, jelaskan apa hakku nanti di hadapan Allah?” Tanya Rasululllah dengan suara yang amat lemah. “Pintu-pintu langit telah terbuka, para malaikat telah menanti ruhmu. Semua surga terbuka lebar menanti kedatanganmu” kata malaikat Jibril.
Tapi itu ternyata tidak membuat Rasulullah lega, matanya masih penuh kecemasan. “Engkau tidak senang mendengar khabar ini?” Tanya Jmalaikat ibril lagi. “Kabarkan kepadaku bagaimana nasib umatku kelak?” “Jangan khawatir, wahai Rasul Allah, aku pernah mendengar bahwa Allah berfirman kepadaku: Kuharamkan surga bagi siapa saja, kecuali umat Muhammad telah berada di dalamnya” kata malaikat Jibril. Detik-detik semakin dekat, saatnya malaikat Izrail melakukan tugasnya. Perlahan ruh Rasulullah ditarik.
Nampak seluruh tubuh Rasulullah bersimbah peluh, urat-urat lehernya menegang. “Jibril, betapa sakit sakaratul maut ini.” Perlahan Rasulullah mengaduh. Fatimah terpejam, Ali yang di sampingnya menunduk semakin dalam dan Jibril memalingkan muka. “Jijikkah kau melihatku, hingga kau palingkan wajahmu Jibril?” Tanya Rasulullah pada Malaikat pengantar wahyu itu. “Siapakah yang sanggup, melihat kekasih Allah direnggut ajal” kata Jibril.
Sebentar kemudian terdengar Rasulullah mengaduh, karena sakit yang tidak tertahankan lagi. “Ya Allah, dahsyat sekali maut ini, timpakan saja semua siksa maut ini kepadaku, jangan pada umatku” Badan Rasulullah mulai dingin, kaki dan dadanya sudah tidak bergerak lagi. Bibirnya bergetar seakan hendak membisikkan sesuatu, Ali mendekatkan telinganya. “Uushiikum bis-shalaati, wamaa malakat aimaanukum (peliharalah shalat dan peliharalah orang-orang lemah di antaramu)”.
Di luar, pintu tangis mulai terdengar bersahutan, sahabat saling berpelukan. Fatimah menutupkan tangan di wajahnya, dan Ali kembali mendekatkan telinganya ke bibir Rasulullah yang mulai kebiruan. “Ummatii, ummatii, ummatiii! (Umatku, umatku, umatku)”. Dan, berakhirlah hidup manusia yang paling mulia yang memberi sinaran itu. Allaahumma sholli ‘alaa Muhammad wa’alaihi wasahbihi wasallim.
Ya Allah, Berikanlah untuk Muhammad “al wasilah” (derajat) dan keutamaan. Dan tempatkanlah ia di tempat terpuji sebagaimana yang telah Engkau janjikan”. Betapa mendalam cinta Rasulullah kepada kita ummatnya, bahkan diakhir kehidupannya hanya kita yang ada dalam fikirannya. Sakitnya sakaratul maut itu tetapi sedikit sekali kita mengingatnya bahkan untuk sekedar menyebut namanya.
Maulana Lee (galipat)> Nasihat Atau Renungan Jumat Pagi
saco-indonesia.com, tips sebelum membeli laptop – Pernahkah anda bingung dalam membeli dan memilih laptop? mungkin artikel tips sebelum membeli laptop ini cukup berguna untuk anda agar laptop yang anda beli tepat dan akurat, jangan sampai anda memilih/membeli laptop yang tidak sesuai dengan kebutuhan anda, karena kesalahan dalam membeli laptop dapat membuat anda kecewa ataupun malahan tidak nyaman menggunakan laptop anda.
tips sebelum membeli laptop
1. Menentukan Prioritas Penggunaan laptop
Sebelum memulai untuk memilih merek/jenis laptop maka terlebih dahulu anda juga harus mengetahui laptop anda dipergunakan untuk apa, ini dikarenakan tiap komputer/laptop telah memiliki berbagai batasan/kapasitas, seperti contoh laptop dengan kualifikasi untuk internetan dan mengetik artikel/dokumen tidak cocok untuk dapat dipergunakan bermain game karena terkadang game yang akan di instal telah memerlukan kualifikasi yang sangat tinggi (Grafik, ram dam kecepatan prosesor) yang tinggi.
tips sebelum membeli laptop
2. Memilih merek yang tepat
merek laptop yang tepat juga akan dapat meningkatkan kepuasan anda dalam menggunakan laptop, karena merek yang juga terkadang tidak tepat dapat membuat anda susah dalam proses perbaikan ataupun mengganti spare part yang rusak. Merek laptop yang baik pada umumnya adalah merek yang mudah dijangkau jika terdapat banyak masalah yang telah terjadi pada laptop yang anda beli.
3. Memastikan spesifikasi laptop yang anda beli
Laptop yang anda beli biasanya telah dilengkapi dengan spesifikasi, kembali pada poin pertama bahwa semua tergantung kepada kebutuhan anda, jika kebutuhan anda untuk desain grafis, maka anda haruslah bisa memilih laptop dengan spesifikasi VGA dan RAM yang sesuai pemilihan spesifikasi laptop yang salah dapat membuat anda jenuh menunggu loading laptop, ataupun laptop anda akan cepat melambat karena spesifikasi yang terdapat didalamnya tidak sesuai dengan kebutuhan anda.
4. Memastikan harga laptop
Poin ke empat ini terkadang juga dapat menjadi kekecewaan yang berat bagi orang yang tidak tahu menahu mengenai harga terbaru laotop karena rawan akan penipuan, cek lah terlebih dahulu harga laptop anda di internet ataupun orang yang anda percayai agar harga yang ditawarkan bisa sesuai dengan kemampuan finansial anda.
5. Memastikan CD Driver dan Kartu Garansi ada
CD Driver dan kartu garansi juga hal yang sangat perlu diperhitungkan, meski tidak dalam waktu dekat, kartu garansi dan CD driver akan sangat diperlukan untuk dapat memperbaiki laptop ataupun dalam menginstal ulang laptop anda.
6. Memastikan komponen lain berjalan dengan baik
Perhatikan dengan teliti bahwa dalam proses boot, dan kinerja perangkat keras ataupun software nya berjalan dengan baik, karena saat membeli peralatan elektronik tidak seperti menjual baju, ketika tampilan sudah cocok maka akan dibeli, dalam memilih komputer haruslah baik dalam segi tampilan (bentuk/disukai) dan performa yang sesuai dengan kebutuhan anda, performa berlebihan akan terkesan membuang-buang uang seperti contoh membeli laptop dengan harga yang mahal dan spesifikasi untuk bermain game (spesifikasi tinggi) namun hanya dipergunakan sebagai alat mengetik dokumen dan lain-lain
Semoga tips sebelum membeli laptop diatas dapat bermanfaat, inti dari tips sebelum membeli laptop di atas adalah Anda hanya perlu mencari informasi dari seseorang yang sudah berpengalaman dalam melihat spesifikasi yang ditawarkan laptop yang akan Anda beli serta harus diingat jangan terburu-buru untuk memilih sebuah laptop.
> TIPS DALAM MEMBELI LAPTOP
Editor : Dian Sukmawati
Selama ini Anda telah mengenal kafein identik dengan kopi. Padahal kafein sendiri adalah senyawa kimia yang telah ditemukan di dalam suatu jenis makanan atau minuman tertentu, termasuk terdapat di dalam kopi.
Banyak kontroversi yang berkembang tentang baik dan buruknya kafein untuk kesehatan. Oleh karena itu sebelum mengonsumsinya, inilah hal yang harus Anda ketahui tentang kafein :
Kebutuhan kafein bervariasi
Setiap orang telah memiliki kondisi kesehatan dan kebutuhan nutrisi yang berbeda. Begitu pula dengan kebutuhan akan kafein. Terutama kebutuhan akan kafein didasarkan pada keadaan metabolisme tubuh, apakah Anda sedang mengonsumsi obat-obatan atau tidak, tingkat insomnia, dan apakah Anda sedang mengandung atau tidak.
Kopi berkafein dan non kafein
Setiap kopi telah mengandung kafein. Namun ada jenis kopi decaf, yaitu kopi yang sudah dihilangkan sebagian besar kafeinnya.
Kafein di dalam kopi
Setiap jenis dan olahan kopi juga mengandung kafein yang sangat berbeda-beda di dalamnya. Secangkir kopi hitam telah memiliki kandungan kafein yang lebih banyak jika dibandingkan dengan kopi susu atau kopi instan lainnya.
Kafein di dalam minuman berenergi
kafein yang ada di dalam kopi bermanfaat untuk dapat membuat tubuh Anda lebih awas. Namun sebuah penelitian telah menunjukkan bahwa kafein yang ada di dalam minuman berenergi justru dapat meningkatkan berat badan sebanyak 29%.
Kafein mengurangi risiko alzheimer
Dalam sebuah penelitian yang berbasis di Florida, peneliti menemukan bahwa mereka yang mengonsumsi kopi sebanyak 3 cangkir sehari mampu terhindar dari risiko penyakit alzheimer.
Kafein menyembuhkan peradangan
Penelitian lain yang dilakukan di University of Illinois menunjukkan bahwa kafein mampu menghalangi peradangan otak yang dapat menyebabkan penyakit otak.
Efek kafein pada kehamilan
Ibu hamil sebaiknya mengurangi konsumsi kafein. Sebab beberapa penelitian juga menunjukkan bahwa ibu hamil yang mengonsumsi kafein secara berlebihan akan berisiko melahirkan bayi prematur, termasuk gangguan pertumbuhan buah hati di masa mendatang.
Pengaruh kafein pada pria dan wanita
Kafein mempunyai pengaruh yang berbeda-beda pada pria dan wanita. Konsumsi kafein akan menurunkan risiko diabetes pada pria, sementara pada wanita justru yang terjadi adalah sebaliknya.
Kafein juga mampu memerangi kanker. Wanita yang minum 4 cangkir kopi sehari akan mengalami penurunan risiko kanker endometrium sebanyak 25%.
Itulah beberapa hal tentang kafein yang selama ini jarang terungkap. Kafein dapat bermanfaat positif dan negatif pada tubuh Anda tergantung bagaimana Anda mengonsumsinya.
Mr. King sang for the Drifters and found success as a solo performer with hits like “Spanish Harlem.”Ben E. King, Soulful Singer of â€˜Stand by Me,â€™ Dies at 76 | PAKET UMROH BULAN JANUARI 2016
Ms. Meadows was the older sister of Audrey Meadows, who played Alice Kramden on “The Honeymooners.”Jayne Meadows, Actress and Steve Allenâ€™s Wife and Co-Star, Dies at 95 | PAKET UMROH BULAN JANUARI 2016
The neighborhood where Freddie Gray came of age has survived harrowing rates of unemployment, poor health, violent crime and incarceration.Hard but Hopeful Home to â€˜Lot of Freddiesâ€™ | PAKET UMROH BULAN JANUARI 2016
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
As he reflected on the festering wounds deepened by race and grievance that have been on painful display in America’s cities lately, President Obama on Monday found himself thinking about a young man he had just met named Malachi.
A few minutes before, in a closed-door round-table discussion at Lehman College in the Bronx, Mr. Obama had asked a group of black and Hispanic students from disadvantaged backgrounds what could be done to help them reach their goals. Several talked about counseling and guidance programs.
“Malachi, he just talked about — we should talk about love,” Mr. Obama told a crowd afterward, drifting away from his prepared remarks. “Because Malachi and I shared the fact that our dad wasn’t around and that sometimes we wondered why he wasn’t around and what had happened. But really, that’s what this comes down to is: Do we love these kids?”
Many presidents have governed during times of racial tension, but Mr. Obama is the first to see in the mirror a face that looks like those on the other side of history’s ledger. While his first term was consumed with the economy, war and health care, his second keeps coming back to the societal divide that was not bridged by his election. A president who eschewed focusing on race now seems to have found his voice again as he thinks about how to use his remaining time in office and beyond.
In the aftermath of racially charged unrest in places like Baltimore, Ferguson, Mo., and New York, Mr. Obama came to the Bronx on Monday for the announcement of a new nonprofit organization that is being spun off from his White House initiative called My Brother’s Keeper. Staked by more than $80 million in commitments from corporations and other donors, the new group, My Brother’s Keeper Alliance, will in effect provide the nucleus for Mr. Obama’s post-presidency, which will begin in January 2017.
“This will remain a mission for me and for Michelle not just for the rest of my presidency but for the rest of my life,” Mr. Obama said. “And the reason is simple,” he added. Referring to some of the youths he had just met, he said: “We see ourselves in these young men. I grew up without a dad. I grew up lost sometimes and adrift, not having a sense of a clear path. The only difference between me and a lot of other young men in this neighborhood and all across the country is that I grew up in an environment that was a little more forgiving.”
Organizers said the new alliance already had financial pledges from companies like American Express, Deloitte, Discovery Communications and News Corporation. The money will be used to help companies address obstacles facing young black and Hispanic men, provide grants to programs for disadvantaged youths, and help communities aid their populations.
Joe Echevarria, a former chief executive of Deloitte, the accounting and consulting firm, will lead the alliance, and among those on its leadership team or advisory group are executives at PepsiCo, News Corporation, Sprint, BET and Prudential Group Insurance; former Secretary of State Colin L. Powell; Senator Cory Booker, Democrat of New Jersey; former Attorney General Eric H. Holder Jr.; the music star John Legend; the retired athletes Alonzo Mourning, Jerome Bettis and Shaquille O’Neal; and the mayors of Indianapolis, Sacramento and Philadelphia.
The alliance, while nominally independent of the White House, may face some of the same questions confronting former Secretary of State Hillary Rodham Clinton as she begins another presidential campaign. Some of those donating to the alliance may have interests in government action, and skeptics may wonder whether they are trying to curry favor with the president by contributing.
“The Obama administration will have no role in deciding how donations are screened and what criteria they’ll set at the alliance for donor policies, because it’s an entirely separate entity,” Josh Earnest, the White House press secretary, told reporters on Air Force One en route to New York. But he added, “I’m confident that the members of the board are well aware of the president’s commitment to transparency.”
The alliance was in the works before the disturbances last week after the death of Freddie Gray, the black man who suffered fatal injuries while in police custody in Baltimore, but it reflected the evolution of Mr. Obama’s presidency. For him, in a way, it is coming back to issues that animated him as a young community organizer and politician. It was his own struggle with race and identity, captured in his youthful memoir, “Dreams From My Father,” that stood him apart from other presidential aspirants.
But that was a side of him that he kept largely to himself through the first years of his presidency while he focused on other priorities like turning the economy around, expanding government-subsidized health care and avoiding electoral land mines en route to re-election.
After securing a second term, Mr. Obama appeared more emboldened. Just a month after his 2013 inauguration, he talked passionately about opportunity and race with a group of teenage boys in Chicago, a moment aides point to as perhaps the first time he had spoken about these issues in such a personal, powerful way as president. A few months later, he publicly lamented the death of Trayvon Martin, a black Florida teenager, saying that “could have been me 35 years ago.”
That case, along with public ruptures of anger over police shootings in Ferguson and elsewhere, have pushed the issue of race and law enforcement onto the public agenda. Aides said they imagined that with his presidency in its final stages, Mr. Obama might be thinking more about what comes next and causes he can advance as a private citizen.
That is not to say that his public discussion of these issues has been universally welcomed. Some conservatives said he had made matters worse by seeming in their view to blame police officers in some of the disputed cases.
“President Obama, when he was elected, could have been a unifying leader,” Senator Ted Cruz of Texas, a Republican candidate for president, said at a forum last week. “He has made decisions that I think have inflamed racial tensions.”
On the other side of the ideological spectrum, some liberal African-American activists have complained that Mr. Obama has not done enough to help downtrodden communities. While he is speaking out more, these critics argue, he has hardly used the power of the presidency to make the sort of radical change they say is necessary.
The line Mr. Obama has tried to straddle has been a serrated one. He condemns police brutality as he defends most officers as honorable. He condemns “criminals and thugs” who looted in Baltimore while expressing empathy with those trapped in a cycle of poverty and hopelessness.
In the Bronx on Monday, Mr. Obama bemoaned the death of Brian Moore, a plainclothes New York police officer who had died earlier in the day after being shot in the head Saturday on a Queens street. Most police officers are “good and honest and fair and care deeply about their communities,” even as they put their lives on the line, Mr. Obama said.
“Which is why in addressing the issues in Baltimore or Ferguson or New York, the point I made was that if we’re just looking at policing, we’re looking at it too narrowly,” he added. “If we ask the police to simply contain and control problems that we ourselves have been unwilling to invest and solve, that’s not fair to the communities, it’s not fair to the police.”
Moreover, if society writes off some people, he said, “that’s not the kind of country I want to live in; that’s not what America is about.”
His message to young men like Malachi Hernandez, who attends Boston Latin Academy in Massachusetts, is not to give up.
“I want you to know you matter,” he said. “You matter to us.”Advertisement Politics Obama Finds a Bolder Voice on Race Issues | PAKET UMROH BULAN JANUARI 2016
From sea to shining sea, or at least from one side of the Hudson to the other, politicians you have barely heard of are being accused of wrongdoing. There were so many court proceedings involving public officials on Monday that it was hard to keep up.
In Newark, two underlings of Gov. Chris Christie were arraigned on charges that they were in on the truly deranged plot to block traffic leading onto the George Washington Bridge.
Ten miles away, in Lower Manhattan, Dean G. Skelos, the leader of the New York State Senate, and his son, Adam B. Skelos, were arrested by the Federal Bureau of Investigation on accusations of far more conventional political larceny, involving a job with a sewer company for the son and commissions on title insurance and bond work.
The younger man managed to receive a 150 percent pay increase from the sewer company even though, as he said on tape, he “literally knew nothing about water or, you know, any of that stuff,” according to a criminal complaint the United States attorney’s office filed.
The success of Adam Skelos, 32, was attributed by prosecutors to his father’s influence as the leader of the Senate and as a potentate among state Republicans. The indictment can also be read as one of those unfailingly sad tales of a father who cannot stop indulging a grown son. The senator himself is not alleged to have profited from the schemes, except by being relieved of the burden of underwriting Adam.
The bridge traffic caper is its own species of crazy; what distinguishes the charges against the two Skeloses is the apparent absence of a survival instinct. It is one thing not to know anything about water or that stuff. More remarkable, if true, is the fact that the sewer machinations continued even after the former New York Assembly speaker, Sheldon Silver, was charged in January with taking bribes disguised as fees.
It was by then common gossip in political and news media circles that Senator Skelos, a Republican, the counterpart in the Senate to Mr. Silver, a Democrat, in the Assembly, could be next in line for the criminal dock. “Stay tuned,” the United States attorney, Preet Bharara said, leaving not much to the imagination.
Even though the cat had been unmistakably belled, Skelos father and son continued to talk about how to advance the interests of the sewer company, though the son did begin to use a burner cellphone, the kind people pay for in cash, with no traceable contracts.
That was indeed prudent, as prosecutors had been wiretapping the cellphones of both men. But it would seem that the burner was of limited value, because by then the prosecutors had managed to secure the help of a business executive who agreed to record calls with the Skeloses. It would further seem that the business executive was more attentive to the perils of pending investigations than the politician.
Through the end of the New York State budget negotiations in March, the hopes of the younger Skelos rested on his father’s ability to devise legislation that would benefit the sewer company. That did not pan out. But Senator Skelos did boast that he had haggled with Gov. Andrew M. Cuomo, a Democrat, in a successful effort to raise a $150 million allocation for Long Island to $550 million, for what the budget called “transformative economic development projects.” It included money for the kind of work done by the sewer company.
The lawyer for Adam Skelos said he was not guilty and would win in court. Senator Skelos issued a ringing declaration that he was unequivocally innocent.
THIS was also the approach taken in New Jersey by Bill Baroni, a man of great presence and eloquence who stopped outside the federal courthouse to note that he had taken risks as a Republican by bucking his party to support paid family leave, medical marijuana and marriage equality. “I would never risk my career, my job, my reputation for something like this,” Mr. Baroni said. “I am an innocent man.”
The lawyer for his co-defendant, Bridget Anne Kelly, the former deputy chief of staff to Mr. Christie, a Republican, said that she would strongly rebut the charges.
Perhaps they had nothing to do with the lane closings. But neither Mr. Baroni nor Ms. Kelly addressed the question of why they did not return repeated calls from the mayor of Fort Lee, N.J., begging them to stop the traffic tie-ups, over three days.
That silence was a low moment. But perhaps New York hit bottom faster. Senator Skelos, the prosecutors charged, arranged to meet Long Island politicians at the wake of Wenjian Liu, a New York City police officer shot dead in December, to press for payments to the company employing his son.
Sometimes it seems as though for some people, the only thing to be ashamed of is shame itself.Finding Scandal in New York and New Jersey, but No Shame | PAKET UMROH BULAN JANUARI 2016
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
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 â€˜Red Roses for a Blue Ladyâ€™ and Other Songs | PAKET UMROH BULAN JANUARI 2016
Ms. Rendell was a prolific writer of intricately plotted mystery novels that combined psychological insight, social conscience and teeth-chattering terror.Ruth Rendell, Novelist Who Thrilled and Educated, Dies at 85 | PAKET UMROH BULAN JANUARI 2016
Ms. Plisetskaya, renowned for her fluidity of movement, expressive acting and willful personality, danced on the Bolshoi stage well into her 60s, but her life was shadowed by Stalinism.Maya Plisetskaya, Ballerina Who Embodied Bolshoi, Dies at 89 | PAKET UMROH BULAN JANUARI 2016
Ms. Crough played the youngest daughter on the hit ’70s sitcom starring David Cassidy and Shirley Jones.Suzanne Crough, Actress in â€˜The Partridge Family,â€™ Dies at 52 | PAKET UMROH BULAN JANUARI 2016
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
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?”
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.
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.”
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 Litâ€™s Power Couple | PAKET UMROH BULAN JANUARI 2016
Though Robin and Joan Rolfs owned two rare talking dolls manufactured by Thomas Edison’s phonograph company in 1890, they did not dare play the wax cylinder records tucked inside each one.
The Rolfses, longtime collectors of Edison phonographs, knew that if they turned the cranks on the dolls’ backs, the steel phonograph needle might damage or destroy the grooves of the hollow, ring-shaped cylinder. And so for years, the dolls sat side by side inside a display cabinet, bearers of a message from the dawn of sound recording that nobody could hear.
In 1890, Edison’s dolls were a flop; production lasted only six weeks. Children found them difficult to operate and more scary than cuddly. The recordings inside, which featured snippets of nursery rhymes, wore out quickly.
Yet sound historians say the cylinders were the first entertainment records ever made, and the young girls hired to recite the rhymes were the world’s first recording artists.
Year after year, the Rolfses asked experts if there might be a safe way to play the recordings. Then a government laboratory developed a method to play fragile records without touching them.
The technique relies on a microscope to create images of the grooves in exquisite detail. A computer approximates — with great accuracy — the sounds that would have been created by a needle moving through those grooves.
In 2014, the technology was made available for the first time outside the laboratory.
“The fear all along is that we don’t want to damage these records. We don’t want to put a stylus on them,” said Jerry Fabris, the curator of the Thomas Edison Historical Park in West Orange, N.J. “Now we have the technology to play them safely.”
Last month, the Historical Park posted online three never-before-heard Edison doll recordings, including the two from the Rolfses’ collection. “There are probably more out there, and we’re hoping people will now get them digitized,” Mr. Fabris said.
The technology, which is known as Irene (Image, Reconstruct, Erase Noise, Etc.), was developed by the particle physicist Carl Haber and the engineer Earl Cornell at Lawrence Berkeley. Irene extracts sound from cylinder and disk records. It can also reconstruct audio from recordings so badly damaged they were deemed unplayable.
“We are now hearing sounds from history that I did not expect to hear in my lifetime,” Mr. Fabris said.
The Rolfses said they were not sure what to expect in August when they carefully packed their two Edison doll cylinders, still attached to their motors, and drove from their home in Hortonville, Wis., to the National Document Conservation Center in Andover, Mass. The center had recently acquired Irene technology.
Cylinders carry sound in a spiral groove cut by a phonograph recording needle that vibrates up and down, creating a surface made of tiny hills and valleys. In the Irene set-up, a microscope perched above the shaft takes thousands of high-resolution images of small sections of the grooves.
Stitched together, the images provide a topographic map of the cylinder’s surface, charting changes in depth as small as one five-hundredth the thickness of a human hair. Pitch, volume and timbre are all encoded in the hills and valleys and the speed at which the record is played.
At the conservation center, the preservation specialist Mason Vander Lugt attached one of the cylinders to the end of a rotating shaft. Huddled around a computer screen, the Rolfses first saw the wiggly waveform generated by Irene. Then came the digital audio. The words were at first indistinct, but as Mr. Lugt filtered out more of the noise, the rhyme became clearer.
“That was the Eureka moment,” Mr. Rolfs said.
In 1890, a girl in Edison’s laboratory had recited:
There was a little girl,
And she had a little curl
Right in the middle of her forehead.
When she was good,
She was very, very good.
But when she was bad, she was horrid.
Recently, the conservation center turned up another surprise.
In 2010, the Woody Guthrie Foundation received 18 oversize phonograph disks from an anonymous donor. No one knew if any of the dirt-stained recordings featured Guthrie, but Tiffany Colannino, then the foundation’s archivist, had stored them unplayed until she heard about Irene.
Last fall, the center extracted audio from one of the records, labeled “Jam Session 9” and emailed the digital file to Ms. Colannino.
“I was just sitting in my dining room, and the next thing I know, I’m hearing Woody,” she said. In between solo performances of “Ladies Auxiliary,” “Jesus Christ,” and “Dead or Alive,” Guthrie tells jokes, offers some back story, and makes the audience laugh. “It is quintessential Guthrie,” Ms. Colannino said.
The Rolfses’ dolls are back in the display cabinet in Wisconsin. But with audio stored on several computers, they now have a permanent voice.Ghostly Voices From Thomas Edisonâ€™s Dolls Can Now Be Heard | PAKET UMROH BULAN JANUARI 2016
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.
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