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Kawah Putih adalah sebuah danau kawah dari Gunung Patuha yang telah terletak di daerah selatan kota bandung, tidak jauh dari obyek wisata Situ patenggang (5km), yaitu berjarak sekitar 46 kilometer dengan waktu tempuh 2,5 jam perjalanan dari pusat kota atau 35 kilometer dari ibukota Kabupaten Bandung, Soreang. Bersuhu antara 8-22 derajat, terdapat dua kawah yaitu Kawah Saat ( Saat dalam bahasa sunda berarti Surut) berada di bagian barat dan Kawah Putih yang berada di bawahnya pada ketinggian 2.194 meter. Kedua kawah tersebut telah terbentuk akibat letusan yang terjadi sekitar abad X dan XII
Dahulu kala sebelum Kawah Putih di buka untuk umum, masyarakat setempat percaya bahwa Kawah Putih telah menyimpan misteri dan Angker karena banyaknya burung yang mati saat melintasi Kawah Putih, namun pada tahun 1837 seorang ilmuwan dari Jerman, Dr. Franz Wilhelm Junghun telah membantahnya. Ia pun kemudian melakukan penelitian dan menemukan fakta bahwa banyaknya burung mati saat melintasi kawasan tersebut tidak lain dikarenakan adanya semburan lava belerang. Karena kandungan belerang di Kawah Putih yang sangat tinggi maka pada zaman pemerintahan Belanda sempat dibangun pabrik belerang yang di beri nama Zwavel Ontgining Kawah Putih yang kemudian usaha tersebut di lanjutkan pada pemerintahan Jepang dengan mengganti namanya menjadi Kawah Putih Kenzanka Gokoya Ciwidey.
Kemudian pada tahun 1987 PT. Perhutani unit III Jawa Barat, Banten telah mulai mengembangkan kawasan Kawah Putih sebagai obyek wisata, Keindahan danau Kawah Putih memang sangat mempesona. Danau Kawah Putih telah memiliki ciri khas dan keunikan yaitu air di danau kawahnya bisa berubah warna, seperti hijau apel, kebiru-biruan bila cuaca terang terkena pantulan matahari, coklat susu, namun paling sering terlihat airnya berwarna putih disertai kabut tebal di atasnya. Kawasan ini tidak jarang sebagai obyek untuk foto pre wedding karena pemandangannya yang eksotis.
Obyek wisata danau Kawah Putih di buka pada pukul 07.00 sampai pukul 17.00, setiap harinya. Fasilitas yang tersedia pun juga sudah memadai dengan adanya area parkir, mushola, transportasi transit, pusat informasi serta adanya warung-warung makanan. Untuk tarif masuk Kawah Putih terbilang mahal yaitu Rp.150.000 untuk mobil sampai di atas kawasan Kawah Putih, Rp.35.000 untuk motor dan Rp. 15.000 per orang.
Akses ke Kawah Putih transport
Dari jakarta melewati tol Cipularang menuju pintu keluar tol Kopo, lalu menuju Soreang ke arah selatan kota Ciwidey. Lamanya perjalanan dari Ciwidey sekitar 20 sampai 30 menit menuju gerbang masuk obyek wisata Kawah Putih, dan pengunjung disarankan menggunakan kendaraan untuk menuju Kawah Putih dari pintu masuk dikarenakan jaraknya yang sangat cukup jauh dan menanjak sekitar 5,6 Kilometer atau sekitar 10-15 menit dengan berkendara.
Jika Anda menggunakan kendaraan pribadi maka Anda bisa langsung menuju area parkir yang tidak jauh dari Kawah Putih, sementara pengunjung dengan rombongan besar hanya bisa menuju Kawah Putih dengan menggunakan Kendaraan Khusus yang tersedia di area parkir, karena kondisi jalan yang sempit dan menanjak tidak memungkinkan untuk dilewati bus atau kendaraan besar lainnya.
Anda bisa juga dari Terminal Kebun Kelapa maupun Leuwi Panjang, Bandung dengan menggunakan transportasi umum menuju Ciwidey. Kemudian perjalanan dilanjutkan dengan menggunakan angkutan pedesaan dengan tujuan Situ Patenggan.> TEMPAT WISATA KAWAH PUTIH
saco-indonesia.com, Buntut dari tewasnya Ade Sudrajat yang berusia 16 tahun , saat terjadi tawuran antara SMK YKTB dengan SMK Wiyata Karisma Rabu (12/2) kemarin, akhirnya polisi telah menetapkan tiga pelajar jadi tersangka.
Kasat Reskrim Polres Bogor, AKP Didik Purwanto juga mengaku, tiga pelajar yang telah ditetapkan sebagai tersangka adalah RD 16, YP 16, dan FB 15.
“Ketiga pelajar ini juga merupakan siswa SMK Menara Siswa dan YKTB. Sedangkan Riki, pelaku pembacokan masih buron,”kata AKP Didik.
Menurut AKP Didik, tawuran bermula saat sekelompok siswa SMK Menara Siswa (Mensis) sedang nongkrong di Gapura perumahan Telaga Kahuripan dekat pangkalan ojek.
Tiba-tiba mereka telah diserang sekitar 30 orang pelajar gabungan dari SMK Wiyata Karisma dan SMK YKTB Kota Bogor.
Kelompok dari dua sekolah berbeda yang telah menyatu dalam satu kelompok ini, mempersenjatai diri dengan clurit.
“Deden siswa SMK YKTB 1 Yasmin dan Ridho siswa SMK YKTB jalan Semeru yang telah menjadi ketua kelompok penyerangan. Keduanya memegang senjata tajam,”kata Didik .
Kedua sekolah ini, diakui Kasat, telah memiliki dendam lama dengan sekolah korban.
“Pengakuan FB, satu pelajar yang kini jadi tersangka, yang telah membacok korban hingga clurit masih menempel dibadan saat ditemukan, adalah Riki. Pelaku sudah DO. Dia yang menggerakan aksi,”paparnya.
Korban ditikam saat terjatuh karena berlari mundur ketika menghindari serangan balik lawan.
“Ketiga pelaku tersebut dijerat Pasal 170 KUHP tentang pengeroyokan. Tiga pelaku lainnya yang masih dalam pengejaran adalah Agung, Bastiar dan Riki,” ujar Didik Purwanto.
Diberitakan sebelumnya, tawuran antar pelajar SMK di Bogor, telah menelan satu korban jiwa.
Ade Sudrajat (16), siswa kelas 1 SMK Wiyata Kharisma, tewas di lokasi akibat terkena sabetan clurit di kepalanya. Warga Kampung Tegal RT 1/03 Kecamatan Kemang, Kabupaten Bogor ini, tewas dengan 3 luka sabetan clurit di bagian kepala, pinggang dan punggungnya.
> TIGA PELAJAR DI BOGOR JADI TERSANGKA
Editor : Dian Sukmawati
JAKARTA, Sako-Indonesia.com - Pemerintah Provinsi DKI Jakarta menjajaki kemungkinan untuk membuat pesta rakyatyang murah meriah untuk warga Jakarta pada tahun 2014. Pesta rakyat tersebut akan dilaksanakan di Monumen Nasional, Jakarta Pusat, bersamaan dengan Pekan Raya Jakarta.
Wakil Gubernur DKI Jakarta Basuki Tjahaja Purnama mengatakan, pesta rakyat itu kemungkinan akan dipisahkan dari Pekan Raya Jakarta atau Jakarta Fair yang diselenggarakan oleh Jakarta International Expo (JIExpo). "Sekarang kita enggak bisa apa-apa. Mungkin tahun depan kita pikirin jadi pasar rakyat, mungkin. Expo dia saja (JIExpo), mungkin," kata Basuki di Balaikota Jakarta, Jumat (31/5/2013).
Basuki mengatakan, pasar rakyat di Monas akan menggelar pameran-pameran kesenian, sedangkan JIExpo akan memamerkan alat-alat elektronik ataupun alat- alat berupa mesin. Menurut Basuki, konsep tentang kedua acara tersebut masih dibahas.
Pekan Raya Jakarta (PRJ) diselenggarakan setiap bulan Juni dalam rangka memperingati hari ulang tahun Kota Jakarta. Setiap tahun acara ini dilangsungkan selama sebulan di JIExpo Kemayoran, Jakarta Pusat. Acara tersebut dimeriahkan dengan berbagai stan pameran dan penampilan artis-artis Ibu Kota.
Tahun ini PRJ akan berlangsung pada 6 Juni hingga 7 Juli 2013. Selain sebagai ajang arena hiburan keluarga dan pameran terbesar dan terlama di Asia Tenggara, Jakarta Fair 2013 diharapkan mampu menjadi ajang promosi tujuan wisata belanja. Acara ini juga diharapkan mampu menambah keinginan investasi wisatawan dari dalam maupun luar negeri yang mengunjungi Jakarta.
Pada PRJ tahun kali ini, total area pameran seluas 130.000 meter persegi yang terbagi menjadi 13 hall. Jakarta Fair 2013 akan diikuti oleh 2.650 peserta yang tergabung dalam 1.280 stan. Panitia menargetkan jumlah total transaksi tahun ini mencapai Rp 4,5 triliun atau meningkat dibandingkan tahun lalu yang berjumlah Rp 4 triliun.
Editor :Liwon Maulana
Sumber:Kompas.com> Tidak Hanya PRJ, Tahun Depan Mungkin Ada Pesta Rakyat
Saco-Indonesia.com — Asus telah memperkenalkan produk tablet terbarunya, FonePad Note FHD6, di ajang Computex 2013, Senin (3/6/2013). Perangkat yang satu ini memiliki layar berukuran 6 inci.
Dengan bentang layar tersebut, sebenarnya produk ini bisa dimasukkan ke kategori phablet, produk "hybrid" antara smartphone dan tablet. Layarnya terlalu kecil untuk diberi label tablet dan terlalu besar untuk disebut sebagai smartphone. Namun, Asus tetap menyebut perangkat ini sebagai tablet.
Produk tersebut dilengkapi dengan sebuah stylus, mirip apa yang dipersenjatai oleh Samsung untuk produk Galaxy Note-nya. Kemungkinan, stylus ini dapat digunakan untuk menulis memo atau menggambar di perangkat tersebut.
Asus FonePad Note dilengkapi layar 6 inci yang mendukung resolusi Full HD 1080p. Jenis layarnya Super IPS-LCD+ yang memiliki tingkat kecerahan 450 nits.
Prosesor yang digunakan adalah buatan Intel, yaitu Atom Z2560 "Clover Trail" dengan kecepatan 1,6GHz dual core. Kecepatan RAM-nya sebesar 2GB.
Tablet ini dilengkapi kamera beresolusi gambar 8 megapiksel di bagian belakangnya. Dikutip dari Phone Arena, Senin (3/6/2013), di bagian depannya, terdapat dua speaker stereo. Smartphone merek lain yang sudah menggunakan dual speaker adalah HTC One.
Sayangnya, Asus tidak menyebutkan kapan pesaing seri Samsung Galaxy Note ini diluncurkan. Harganya pun masih belum dibeberkan.
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“It was really nice to play with other women and not have this underlying tone of being at each other’s throats.”ay 4, 2015 â€˜Game of Thronesâ€™ Q&A: Keisha Castle-Hughes on the Tao of the Sand Snakes | PAKET UMROH BULAN JANUARI 2016
Mr. Bartoszewski was given honorary Israeli citizenship for his work to save Jews during World War II and later surprised even himself by being instrumental in reconciling Poland and Germany.Wladyslaw Bartoszewski, 93, Dies; Polish Auschwitz Survivor Aided Jews | PAKET UMROH BULAN JANUARI 2016
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
BEIJING (AP) — The head of Taiwan's Nationalists reaffirmed the party's support for eventual unification with the mainland when he met Monday with Chinese President Xi Jinping as part of continuing rapprochement between the former bitter enemies.
Nationalist Party Chairman Eric Chu, a likely presidential candidate next year, also affirmed Taiwan's desire to join the proposed Chinese-led Asian Infrastructure Investment Bank during the meeting in Beijing. China claims Taiwan as its own territory and doesn't want the island to join using a name that might imply it is an independent country.
Chu's comments during his meeting with Xi were carried live on Hong Kong-based broadcaster Phoenix Television.
The Nationalists were driven to Taiwan by Mao Zedong's Communists during the Chinese civil war in 1949, leading to decades of hostility between the sides. Chu, who took over as party leader in January, is the third Nationalist chairman to visit the mainland and the first since 2009.
Relations between the communist-ruled mainland and the self-governing democratic island of Taiwan began to warm in the 1990s, partly out of their common opposition to Taiwan's formal independence from China, a position advocated by the island's Democratic Progressive Party.
Despite increasingly close economic ties, the prospect of political unification has grown increasingly unpopular on Taiwan, especially with younger voters. Opposition to the Nationalists' pro-China policies was seen as a driver behind heavy local electoral defeats for the party last year that led to Taiwanese President Ma Ying-jeou resigning as party chairman.Taiwan party leader affirms eventual reunion with China | PAKET UMROH BULAN JANUARI 2016
As governor, Mr. Walker alienated Republicans and his fellow Democrats, particularly the Democratic powerhouse Richard J. Daley, the mayor of Chicago.Dan Walker, 92, Dies; Illinois Governor and Later a U.S. Prisoner | 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
At the National Institutes of Health, Dr. Suzman’s signature accomplishment was the central role he played in creating a global network of surveys on aging.Richard Suzman, 72, Dies; Researcher Influenced Global Surveys on Aging | PAKET UMROH BULAN JANUARI 2016
The live music at the Vice Media party on Friday shook the room. Shane Smith, Vice’s chief executive, was standing near the stage — with a drink in his hand, pants sagging, tattoos showing — watching the rapper-cum-chef Action Bronson make pizzas.
The event was an after-party, a happy-hour bacchanal for the hundreds of guests who had come for Vice’s annual presentation to advertisers and agencies that afternoon, part of the annual frenzy for ad dollars called the Digital Content NewFronts. Mr. Smith had spoken there for all of five minutes before running a slam-bang highlight reel of the company’s shows that had titles like “Weediquette” and “Gaycation.”
In the last year, Vice has secured $500 million in financing and signed deals worth hundreds of millions of dollars with established media companies like HBO that are eager to engage the young viewers Vice attracts. Vice said it was now worth at least $4 billion, with nearly $1 billion in projected revenue for 2015. It is a long way from Vice’s humble start as a free magazine in 1994.
But even as cash flows freely in Vice’s direction, the company is trying to keep its brash, insurgent image. At the party on Friday, it plied guests with beers and cocktails. Its apparently unrehearsed presentation to advertisers was peppered with expletives. At one point, the director Spike Jonze, a longtime Vice collaborator, asked on stage if Mr. Smith had been drinking.
“My assistant tried to cut me off,” Mr. Smith replied. “I’m on buzz control.”
Now, Vice is on the verge of getting its own cable channel, which would give the company a traditional outlet for its slate of non-news programming. If all goes as planned, A&E Networks, the television group owned by Hearst and Disney, will turn over its History Channel spinoff, H2, to Vice.
The deal’s announcement was expected last week, but not all of A&E’s distribution partners — the cable and satellite TV companies that carry the network’s channels — have signed off on the change, according to a person familiar with the negotiations who spoke on the condition of anonymity because the talks were private.
A cable channel would be a further step in a transformation for Vice, from bad-boy digital upstart to mainstream media company.
Keen for the core audience of young men who come to Vice, media giants like 21st Century Fox, Time Warner and Disney all showed interest in the company last year. Vice ultimately secured $500 million in financing from A&E Networks and Technology Crossover Ventures, a Silicon Valley venture capital firm that has invested in Facebook and Netflix.
Those investments valued Vice at more than $2.5 billion. (In 2013, Fox bought a 5 percent stake for $70 million.)
Then in March, HBO announced that it had signed a multiyear deal to broadcast a daily half-hour Vice newscast. Vice already produces a weekly newsmagazine show, called “Vice,” for the network. That show will extend its run through 2018, with an increase to 35 episodes a year, from 14.
Michael Lombardo, HBO’s president for programming, said when the deal was announced that it was “certainly one of our biggest investments with hours on the air.”
Vice, based in Brooklyn, also recently signed a multiyear $100 million deal with Rogers Communications, a Canadian media conglomerate, to produce original content for TV, smartphone and desktop viewers.
Vice’s finances are private, but according to an internal document reviewed by The New York Times and verified by a person familiar with the company’s financials, the company is on track to make about $915 million in revenue this year.
It brought in $545 million in a strong first quarter, which included portions of the new HBO deal and the Rogers deal, according to the document. More of its revenue now comes from these types of content partnerships, compared with the branded content deals that made up much of its revenue a year ago, the company said.
Mr. Smith said the company was worth at least $4 billion. If the valuation gets much higher, he said he would consider taking the company public.
“I don’t care about money; we have plenty of money,” Mr. Smith, who is Vice’s biggest shareholder, said in an interview after the presentation on Friday. “I care about strategic deals.”
In the United States, Vice Media had 35.2 million unique visitors across its sites in March, according to comScore.
The third season of Vice’s weekly HBO show has averaged 1.8 million viewers per episode, including reruns, through April 12, according to Brad Adgate, the director of research at Horizon Media. (Vice said the show attracted three million weekly viewers when repeat broadcasts, online and on-demand viewings were included.)
For years, Mr. Smith has criticized traditional TV, calling it slow and unable to draw younger viewers. But if all the deals Vice has struck are to work out, Mr. Smith may have to play more by the rules of traditional media. James Murdoch, Rupert Murdoch’s son and a member of Vice’s board, was at the company’s presentation on Friday, as were other top media executives.
“They know they need people like me to help them, but they can’t get out of their own way,” Mr. Smith said in the interview Friday. “My only real frustration is we’re used to being incredibly dynamic, and they’re not incredibly dynamic.”
With its own television channel in the United States, Vice would have something it has long coveted even as traditional media companies are looking beyond TV. Last year, Vice’s deal with Time Warner failed in part because the two companies could not agree on how much control Vice would have over a 24-hour television network.
Vice said it intended to fill its new channel with non-news programming. The company plans to have sports shows, fashion shows, food shows and the “Gaycation” travel show with the actress Ellen Page. It is also in talks with Kanye West about a show.
It remains to be seen whether Vice’s audience will watch a traditional cable channel. Still, Vice has effectively presold all of the ad spots to two of the biggest advertising agencies for the first three years, Mr. Smith said.
In the meantime, Mr. Smith is enjoying Vice’s newfound role as a potential savior of traditional media companies.
“I’m a C.E.O. of a content company,” Mr. Smith said before he caught a flight to Las Vegas for the boxing match on Saturday between Floyd Mayweather Jr. and Manny Pacquiao. “If it stops being fun, then why are you doing it?”As Vice Moves More to TV, It Tries to Keep Brash Voice | PAKET UMROH BULAN JANUARI 2016
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Mr. Goldberg was a serial Silicon Valley entrepreneur and venture capitalist who was married to Sheryl Sandberg, the chief operating officer of Facebook.PAKET UMROH BULAN JANUARI 2016
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With 12 tournament victories in his career, Mr. Peete was the most successful black professional golfer before Tiger Woods.Calvin Peete, 71, a Racial Pioneer on the PGA Tour, Is Dead | PAKET UMROH BULAN JANUARI 2016
Mr. Lechleider helped invent DSL technology, which enabled phone companies to offer high-speed web access over their infrastructure of copper wires.Joseph Lechleider, a Father of the DSL Internet Technology, Dies at 82 | PAKET UMROH BULAN JANUARI 2016
Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.
It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.
As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.
An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.
Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.
“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.
Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.
“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”
In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.
“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”
Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.
“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.
She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”
Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.
“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”
United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.
JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.
Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.
Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.
“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.
Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.
Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.
Still, some contributors say they wish the magazine were more widely circulated.
“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet | PAKET UMROH BULAN JANUARI 2016
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