PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018




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Tour & Travel

Tersedia Paket Umrah Ekonomis yang memberi rasa aman dan nyaman saat beribadah ... Kami Tour & Travel memiliki Izin dan Legalitas Resmi dari ... Tour & Travel

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Paket Umroh 2015

Biro Travel Umroh Jakarta Melayani Biaya Harga Paket Umroh Murah Promo Hemat dan Plus Turki Desember 2015 - Januari | Februari | Maret | April 2016. Paket Umroh 2015

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Paket Umroh 2015

Biro Travel Umroh Jakarta Melayani Biaya Harga Paket Umroh Murah Promo Hemat dan Plus Turki Desember 2015 - Januari | Februari | Maret | April 2016. Paket Umroh 2015

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ASIA TOUR

PT. ASIA UTAMA WISATA dengan merek dagang ASIATOUR, didirikan pada tahun 2000 dengan manejemen yang profesional dan konsep untuk menyediakan layanan wisata bagi para wisatawan.

Asiatour menyediakan layanan Ibadah UMRAH, HAJI, TOUR PACKAGE, AIR TICKET, HOTEL RESERVATION dan TRAVEL DOKUMENT, juga Asiatour dilengkapi dengan komputer ticketing yang terhubung secara online, reservasi komputer ABACUS dan ARGA serta agent resmi IATA.

Sumber : http://www.asiatour.co.id

Baca Artikel Lainnya : ARMINA TRAVEL

> ASIA TOUR

GEMPA DAN PETIR BUKAN DARI GUNUNG MERBABU

saco-indonesia.com, Gempa yang disertai petir yang telah mengakibatkan dentuman di sekitar lereng Gunung Merbabu tepatnya di Desa Sumogawe, Kecamatan Getasan, Kabupaten Semarang, Jawa Tengah Senin (17/2) kemarin pagi sempat mengagetkan warga setempat. Tetapi, Badan Penanggulangan Bencana Daerah (BPBD) Jawa Tengah telah memastikan hal itu bukan karena aktivitas Gunung Merbabu.

"Kami juga sudah melakukan koordinasi setelah mendengar informasi tersebut. Saya langsung hubungi Mas Bandriyo (Kepala BPPTK Yogyakarta) dari pos pemantauan Merapi. Tapi Merapi Aman, Merbabu juga aman," kata Kepala BPBD Jawa Tengah, Sarwa Pramana, saat dikonfirmasi Senin (17/2).

Sarwa juga telah menjelaskan soal muncul dan terdengarnya suara dentuman yang menurutnya bukan berasal dari Gunung Merbabu. Tetapi, dentuman itu adalah suara lain yang kebetulan telah terjadi bersamaan adanya gempa lokal atau getaran.

"Dentuman itu belum dapat diketahui asalnya. Mungkin suara lain tapi bersamaan dengan getaran," ujar Sarwa.

Sebelumnya, gempa yang berkekuatan cukup besar disertai sambaran kilat telah terjadi di sekitar lereng Gunung Merbabu, tepatnya di Dusun Piji dan Krajan, Desa Sumogawe, Kecamatan Getasan, Kabupaten Semarang, Jawa Tengah, sekitar pukul 06.00 WIB. Akibat gempa itu, 17 rumah warga telah mengalami rusak sedang dan puluhan lainnya rusak ringan.

Rumah yang telah mengalami rusak sedang adalah milik Supanggih (50 tahun) warga RT 10 / RW 5, Dusun Piji, Desa Sumogawe, Suwarji (51 tahun) warga RT 01 / RW 02 Dusun Krajan, Desa Sumogawe, serta Sidik Sumarni (70 tahun) dan Wiwit(40 tahun) yang keduanya juga merupakan warga RT 05 / RW 02 Dusun Krajan.


Editor : Dian Sukmawati

> GEMPA DAN PETIR BUKAN DARI GUNUNG MERBABU

TEMPAT WISATA GUNUNG SALAK

Kawasan Puncak juga merupakan kawasan primadona di Jawa Barat bahkan saat ini juga telah dijadikan salah satu dari “Seven Wonder of West Java”. Namun perkembangan kawasan ini yang sangat pesat dikhawatirkan akan berdampak negatif. Pemerintah Kabupaten Bogor khususnya Dinas Kebudayaan dan Pariwisata saat ini juga tengah mengupayakan dan mulai mengembangkan kawasan alternatif sebagai daerah tujuan wisata. Salah satunya adalah Kawasan Gunung Salak Endah (GSE) yang terletak di sebelah barat Kota Bogor, GSE ini telah terletak di sekitar kaki Gunung Salak. Di sini juga banyak terdapat obyek alami yang bisa menjadi daya tarik wisata, di antaranya:

WANA WISATA KAWAH RATU

Kawah Ratu berada di kawasan GSE pada ketinggian 1.338 m Dpl, dengan suhu berkisar 10-20 derajat C. Kawah ini telah memiliki daya tarik yang sangat unik bagi setiap pengunjung, yaitu dengan aktivitas geologinya. Sepanjang hari kepundan selalu mendidih dan mengeluarkan gas alam Sulfat (H2S) dengan baunya yang khas, dan tekadang mengeluarkan suara gemuruh, akibat semburan uap air panas yang membentuk kabut.
    
CURUG SERIBU

Curug seribu juga merupakan curug yang paling indah dan paling menarik di kawasan wisata GSE, lokasinya yang berada lebih kurang 7 km dari Loka Purna. Jika kita menuju ke curug ini akan dapat terlihat pemandangan alam yang indah dan alami dan telah memiliki daya tarik tersendiri bagi yang melihatnya. Curug Seribu tingginya melebihi 100 meter, dan terlihat indah dan menakjubkan.

CURUG NGUMPET

Curug Ngumpet telah memiliki ketinggian lebih kurang 45 meter, dengan panorama alam yang indah dan asri. Untuk menuju ke obyek wisata ini , juga dapat ditempuh dengan jarak lebih kurang 38 km dari Bogor. Jika dari Desa Gunung Sari dapat ditempuh dengan jarak lebih kurang 9 km yang dilan-jutkan jalan setapak lebih kurang 200 meter.

CURUG CIGAMEA

Di kawasan GSE, Curug Cigamea letaknya tak jauh dar jalan menuju ke Pasir Reungit, Kawah Ratu dan menuju Curug Seribu. Panoramanya sangat indah sekali walaupun tingginya tidak melebihi 50 meter. Suasananya terasa alami dan begitu segar untuk dinikmati. Hembusan angin dan ditambah gemericik air akan dapat membuat betah berada di sini.
    
KERAJINAN TANGAN

Dikawasan wisata GSE terdapat juga potensi kerajinan tangan yang cukup banyak dan sangat beragam, antara lain seni menganyam dari bambu yang berada di Kampung Cikoneng, pengrajin sapu injuk dan steer racing besi yang telah dimodifikasi dengan kayu, pengrajin ini juga bisa ditemui di Desa Pamijahan.

AKSES MENUJU GSE

Akses untuk dapat menuju GSE adalah jalur Cemplang-Pamijahan-GSE, akses jalur ini telah memiliki jarak dan waktu tempuh dari jalan raya Bogor-Leuwiliang terpendek dibanding tiga alternatif yang lain, (Cikampek-GSE-Cibatok-GSE dan Tamansari-Gunung Bunder-GSE). Kondisi fisik jalan yang meliputi kontur, kelurusan dan lebar jalan maupun lahan pengembangan secara umum lebih memadai dibanding alternatif lainnya.

Potensi objek wisata alam di kawasan GSE ini tentunya akan lebih dioptimalkan pengelolaannya sehingga diharapkan mampu meningkatkan minat wisatawan untuk berkunjung ke kawasan sini. Sehingga Kawasan Gunung Salak Endah menjadi obyek wisata primadona bagi wisatawan dan menjadi wisata alternatif selain Kawasan Puncak Bogor. Anda ingin wisata alternatif selain puncak? Gunung Salak Endah adalah pilihan yang sangat tepat sebagai daerah tujuan wisata Anda. (PV)

 

> TEMPAT WISATA GUNUNG SALAK

PELAKU UTAMA PEMBUNUH FEBY LORITA DIBURU KE MEDAN

saco-indonesia.com, Polisi akhirnya telah berhasil untuk mengungkap pelaku pembunuhan wanita dalam mobil Nissan March putih F 1356 KA. Satu dari dua pelaku, telah diamankan oleh jajaran Polres Jakarta Timur.

Berdasarkan informasi yang telah berhasil dihimpun, salah satu pelaku berhasil ditangkap, Sabtu (1/2) malam. Petugas tengah menggiring pelaku atas nama Daniel ke Pasar Kecapi, Pondok Gede, untuk dapat menggambil barang bukti motor yang digunakannya.

Daniel sendiri bukanlah pelaku utama atas tewasnya Feby Lorita. Ia hanya bertugas untuk membantu pelaku utama Ed, yang saat ini masih dalam proses pengejaran di Medan. Daniel sendiri juga merupakan seorang angkot yang terbujuk rayu Ed.

Kabar ditangkapnya Daniel sendiri, juga telah dibenarkan oleh Kapolres Jakarta Timur, Kombes Mulyadi Kaharni. Namun, ia belum dapat memberikan keterangan detil atas penangkapan yang dilakukan petugasnya. Melalui pesan singkatnya, Mulyadi hanya menulis. “Iya, sudah tahu kan,” tulisnya.

TIDAK HAMIL

Sementara itu, berdasarkan hasil otopsi yang telah dilakukan petugas, Feby sendiri tidak dalam kondisi hamil. Hanya saja, luka akibat benda tajam terlihat di leher korban. “Dari hasil otopsi korban sendiri tidak hamil,” kata Kasat Reskrim AKBP Didik Sugiarto.

Didik sendiri mengaku, jasad yang ditemukan di bagasi mobil disamping TPU Pondok Kelapa, Duren Sawit, benar Feby Lorita. Hal itu telah teruji dari hasil sidik jari korban yang dibandingkan dengan ijazah SMU miliknya. “Hasilnya identik 100 persen, korban adalah benar Feby Lorita,” tuturnya


Editor : Dian Sukmawati

> PELAKU UTAMA PEMBUNUH FEBY LORITA DIBURU KE MEDAN

POLISI TEMUKAN GANJA 2,2 KG DI DALAM TAS

saco-indonesia.com, Jajaran Polsek Sukarami Palembang telah berhasil mengamankan 22 paket ganja kering seberat 2,2 kilogram yang telah dibuang oleh pemiliknya saat polisi menggelar razia giat 21. Razia tersebut telah dilakukan di perbatasan Palembang-Banyuasin, Selasa (11/2) sekitar pukul 20.00 malam WIB.

Kapolsek Sukarami Palembang Kompol Imam Tarmudi juga mengungkapkan, ganja tersebut telah dibuang oleh pemiliknya yang sedang mengendarai sepeda motor Yamaha Jupiter Z berwarna niru dari arah Banyuasin menuju Terminal KM 12. Ganja siap pakai itu tersimpan di dalam tas besar berwarna merah dan ditemukan di depan Kapospol Alang-alang Lebar menuju ke Grand City, KM 12 Palembang.

"Karena ada razia, pengendara motor tersebut dengan kencang langsung membelok ke arah Terminal KM 12. Motor mereka juga hampir oleng lalu tas yang penuh dengan ganja tersebut terjatuh," kata Imam , Rabu (12/2) kemarin.

Melihat ada tas yang terjatuh dan tidak diambil, salah satu anggota yang ikut menggelar giat 21 langsung mengambilnya. Saat diperiksa ternyata berisi penuh dengan ganja.

"Pengendara motor tersebut telah melarikan diri ke arah Grand City saat dikejar," ujarnya.

Imam telah menduga, ganja kering siap pakai itu telah berasal dari daerah Sungai Keruh Kabupaten Musi Banyuasin. Tempat tersebut terdapat ladang ganja yang telah berhasil ditemukan oleh petugas beberapa waktu yang lalu.

"Perkiraan seperti itu. Tapi akan kita selidiki lagi siapa pemiliknya dan berasal dari mana," imbuh Imam.


Editor : Dian Sukmawati

> POLISI TEMUKAN GANJA 2,2 KG DI DALAM TAS

Maya Plisetskaya, Ballerina Who Embodied Bolshoi, Dies at 89

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

William Sokolin, Wine Seller Who Broke Famed Bottle, Dies at 85

The bottle Mr. Sokolin famously broke was a 1787 Château Margaux, which was said to have belonged to Thomas Jefferson. Mr. Sokolin had been hoping to sell it for $519,750.

William Sokolin, Wine Seller Who Broke Famed Bottle, Dies at 85 | PAKET UMROH BULAN JANUARI 2016

Andrew Lesnie, Cinematographer of ‘Lord of the Rings,’ Dies at 59

The magical quality Mr. Lesnie created in shooting the “Babe” films caught the eye of the director Peter Jackson, who chose him to film the fantasy epic.

Andrew Lesnie, Cinematographer of ‘Lord of the Rings,’ Dies at 59 | PAKET UMROH BULAN JANUARI 2016

Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet

Photo
 
United’s first-class and business fliers get Rhapsody, its high-minded in-flight magazine, seen here at its office in Brooklyn. Credit Sam Hodgson for The New York Times

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.

 

Photo
 
Sean Manning, executive editor of Rhapsody, which publishes works by the likes of Joyce Carol Oates, Amy Bloom and Anthony Doerr, who won a Pulitzer Prize. Credit Sam Hodgson for The New York Times

 

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.

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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

From T Magazine: Street Lit’s Power Couple

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Edward Chambers, Early Leader in Community Organizing, Dies at 85

A lapsed seminarian, Mr. Chambers succeeded Saul Alinsky as leader of the social justice umbrella group Industrial Areas Foundation.

Edward Chambers, Early Leader in Community Organizing, Dies at 85 | PAKET UMROH BULAN JANUARI 2016

William Pfaff, Critic of American Foreign Policy, Dies at 86

Mr. Pfaff was an international affairs columnist and author who found Washington’s intervention in world affairs often misguided.

William Pfaff, Critic of American Foreign Policy, Dies at 86 | PAKET UMROH BULAN JANUARI 2016

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

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

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

Native American Actors Work to Overcome a Long-Documented Bias

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dave Goldberg, Head of Web Survey Company and Half of a Silicon Valley Power Couple, Dies at 47

Mr. Goldberg was a serial Silicon Valley entrepreneur and venture capitalist who was married to Sheryl Sandberg, the chief operating officer of Facebook.

Dave Goldberg Was Lifelong Women’s Advocate

Dave Goldberg, Head of Web Survey Company and Half of a Silicon Valley Power Couple, Dies at 47 | PAKET UMROH BULAN JANUARI 2016

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

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

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

Jayne Meadows, Actress and Steve Allen’s Wife and Co-Star, Dies at 95

Ms. Meadows was the older sister of Audrey Meadows, who played Alice Kramden on “The Honeymooners.”

Jayne Meadows, Actress and Steve Allen’s Wife and Co-Star, Dies at 95 | PAKET UMROH BULAN JANUARI 2016

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