PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018

TIPS MEMASANG ANTENA TV YANG BENAR

Tips pilih dan pasang Antena TV yang baik - Gambar jernih bersih tidak berbintik suara jelas dan tidak ada gemuruh, Gambar TV kabur / buram tidak jelas, suara stereo kadang muncul kadang menghilang, tidak semua chanel bisa ditangkap dikarenakan sinyal yang telah diterima lemah.

Mempunyai pesawat televisi dirumah bisa dikatakan kebutuhan sebagai media elektronik untuk bisa mendapatkan informasi seperti berita, hiburan seperti mendengarkan lagu-lagu dan juga menyaksikan film-film seru, komedi dan lain sebagainya sedikit mengurangi stress, nah bagaimana jika ada acara tv favorit kita tiba-tiba tidak bisa ditonton dengan sempurna dilayar tv banyak bintik-bintiknya alias semutnya, suaranya seperti ada hujan atau gemuruhnya, dibilang tvnya rusak tidak juga tetapi rusaknya ada di antena yang tidak tepat, apapun penyebabnya anda pasti akan jengkel dan kesal disaat anda ingin menyaksikan acara kesayangan favorit anda siarannya bermasalah.

postingan kali ini sedikit berbagi seputar tips memasang memilih antena tv yang benar, untuk bisa mendapatkan kualitas gambar serta suara yang bagus jernih dan bersih, sebelum ke tips memasang dan memilih antena tv yang bagus buat anda sedikit celotehku pandangan dari saya seputar antena.

Antena

Sebelum membeli antena sebaiknya ketahui terlebih dahulu antena yang hendak digunakan, Secara umum antena yang sering digunakan pada televisi antena,antena indor dan outdor, perbedaan dari kedua antena terletak dari penempatan dan bentuknya, untuk antena indor biasanya ditempatkan didalam ruangan tidak jauh dari pesawat televisi itu sendiri, seperti contoh antena bawaan televisi yang bisa ditarik-tarik atau yang berbentuk lingkaran, sebagai tambahan informasi saja seputar polaradiasi untuk antena.

Antena outdor karena penempatannya diluar rumah dan bentuk antena outdor umumnya besar membutuhkan tiang penyanggah yang tinggi guna untuk mendapatkan sinyal yang sangat lebih kuat.

Sebenarnya untuk antena tv bisa dibuat sendiri dengan menggunakan bahan bekas, dimana antena tv indor dibuat dengan menggunakan bahan bekas plat (nopol motor).

Peyebab kualitas gambar dan suara tidak bersih pada pesawat televisi.
kualitas gambar dan suara yang tidak sempurna disebabkan karena penerimaan sinyal pancaran dari relay stasiun tv lemah,

terlepas dari faktor penyebab secara teknis (kerusakan dari pesawat tvnya), peyebab umum dari antena, karena antena telah memiliki perenan sangat penting untuk bisa menangkap frekuensi yang diterima.

Untuk Pesawat televisi LED juga LCD biasanya bintik dan suara gemuruh akan lebih terlihat dan terdengar jelas, jika dibandingkan dengan pesawat televisi dengan menggunakan tabung crt, mungkin disebabkan besar resolusinya yang berbeda, agar gambar yang dihasilkan jernih setara kualitas dvd, bahkan ada yang menggunakan jaringan tv kabel atau menggunakan antena parabola untuk gambar yang jernih.

Ketahui posisi letak sebelum mememilih antena.
Antena yang dapat dipergunakan umumnya antena indor, antena outdor (yagi) antena parabola, untuk penggunaan antena indor seperti antena bawaan tv bisanya bisa dipergunakan didaerah yang dekat dengan pemancar tv atau relay tvnya, dikota-kota, sedangkan antena outdor seperti antena arahan yagi untuk posisi jauh dari pemancar pesawat televisi dan mengarahkan buntut / ujung antena ke stasiun relay tv. untuk indor dan outdor tergantung jarak juga posisi letak antena, sedangkan antena parabola tidak harus mengarahkan antena secara horizontal, melainkan mengarahkan antena ke satelit langsung tanpa melalui relay pemancar stasiun tv lagi.

Memilih antena outdor yang bagus.
Kita sudah menggunakan antena luar dipasang tinggi hingga 10 meter lebih tapi ada beberapa siaran tv yang tidak jernih atau hanya satu dua siaran saja yang bersih, hal tersebut disebabkan jaraknya mungkin jauh juga bisa posisi arah antena tidak tepat disiaran tv yang tidak jernih tersebut. untuk dapat mensiasatinya sebaiknya gunakan antena yang mengunakan rotor hingga posisi antena bisa diarahkan.

antena tv rotator bergerak berputar
Gambar antena yagi yang dapat digerakkan / berputar

Gunakan penguat sinyal Boster TV
Seperti gambar antena yagi diatas yang dapat digerakkan untuk dapat menyesuaikan posisi arah antena agar tepat kestasiun relay tv, beberapa tahun sebelumnya gambar tv akan jernih jika antena dilengkapi dengan boster guna untuk menguatkan sinyal yang ditangkap oleh antena sebelum dikirim kepasawat televisi.

Kabel Coaxial Antena
Terkadang kita anggap remeh dengan media hantar kabel yang digunakan untuk antena, umumnya kabel antena menggunakan impedansi 75 ohm untuk pesawat televisi sedangkan untuk pesawat radio biasanya menggunakan impedansi 50 ohm kabel coaxial. gunakanlah kabel coaxial yang baik, kabel coaxial yang baik akan mengurangi lose sinyal, dan lebih tahan dengan cuaca hujan dan panas saat dipasang diluar ruangan, 

KHAWATIR GUNUNG KELUD MELETUS

saco-indonesia.com, Pasca kenaikan status Gunung Kelud, ratusan warga yang berada di wilayah Desa Sugihwaras Kecamatan Ngancar Kabupaten Kediri berjaga-jaga di jalanan dengan membuat api unggun, Selasa (11/2) dini hari. Aksi 'melekan' itu dilakukan untuk dapat mengantisipasi jika sewaktu-waktu gunung yang hanya berjarak 8 kilometer dari desa mereka tersebut meletus.

Sapari yang berusia (48) tahun salah seorang warga setempat, juga mengaku sempat was-was dengan kenaikan status Gunung Kelud ke siaga. Warga juga telah menilai, perubahan status gunungdari waspada ke siaga sangat begitu cepat.

"Kami warga di sini juga sempat was-was, sebab takutnya gunung meletus lebih cepat. Kekhawatiran kami lagi adalah anak gunung Kelud jika terjadi letusan akan dapat menimbulkan bahaya yang lebih besar. Oleh karena itu warga di Desa Sugihwaras terutama yang laki-laki siaga di jalanan sambil membuat api unggun," kata Sapari.

Masih menurut Sapari, ia juga telah membawa turun anak-anaknya ke tempat lebih aman agar jika sewaktu-waktu terjadi bencana sudah tidak begitu merisaukan bagaimana membawa keluarga. "Saya hanya bersama istri saya siaga di rumah, anak-anak dan juga surat-surat penting sudah kami bawa turun ke rumah mertua di Desa Ngreco Kecamatan Kandat yang berjarak kurang lebih 25 kilometer," tambahnya.

Selain Sapari, Prapto tetangga Sapari juga menuturkan ia telah mengemasi barang-barang berharga dan beberapa kebutuhan selama pengungsian nanti. "Intinya warga di sini sudah siap jika sewaktu-waktu diinstruksikan untuk pindah ke pengungsian," ujarnya.

Editor : Dian Sukmawati

ARTIKEL ARTIKEL BARU

Merawat jaket kulit tidak sama seperti merawat jaket biasanya tentu saja perlakuannya berbeda karena jaket tersebut berbahan kulit, ibaratnya sama saja seperti kulit tangan kita bila terkena deterjen terus menerus maka kulit tangan kita akan sedikit demi sedikit terkelupas, berikut ini ada beberapa hal yang perlu diperhatikan dalam merawat jeket kulit:

1. Jangan cuci dengan deterjen. Deterjen dapat membuat kulit jaket kering, rapuh dan mudah terkelupas kulitnya. Pilihlah jaket kulit bukan berdasarkan kecocokan bukan karena merk, sebab jaket kulit itu tidak semua orang sesuai memakainya.

2. Jauhkan dari air termasuk air hujan, kalau terkena air, sebaiknya langsung dijemur, tetapi jangan langsung kena sinar matahari. Jangan semprotkan parfum atu spray kepermukaan jaket kulit.

3. Jangan lupa merawat kelenturan jaket kulit dengan lotion pelembab selama sebulan sekali. Biarkan selama 1jam, setelah dioleskan. Lalu, bersihkan dengan lap yang kering dan bertekstur yang lembut, sehingga tidak merusak jaket. Jaket kulit jangan terkena air,termasuk air hujan, apabila terkena air langsung di angin-anginkan.

4. Bersihkan noda yang menempel di jaket dengan minyak goreng atau cairan pembersih khusus. Jangan lupa menggunakan kapas jika harus menggosok noda yang menempel di jaket.

5. Jangan pernah semprotkan parfum ke permukaan jaket kulit.

6. Gantungkan jaket dengan hanger jika tidak dipakai, agar kulitnya tidak mudah kusut dan lecek. Jangan juga dilipat karena lipatan akan mengubah warna kulit jaket.

Demikian tipsnya semoga bermanfaat untuk anda dalam merawat jaket kulit yang baik.

Hampir semua perusahaan asing akali bayar pajak

Saco-Indonesia.com - Masalah transfer pricing atau transaksi barang dan jasa antara beberapa divisi pada suatu kelompok usaha dengan harga yang tidak wajar, baik menaikkan (mark up) atau menurunkan harga (mark down), masih menjadi persoalan utama dalam sistem perpajakan. Transfer pricing diidentikkan dengan upaya perusahaan mengakali pembayaran pajak.

Kondisi ini juga dirasakan kantor pajak di daerah, termasuk Kantor Wilayah Pajak Banten. Kepala Kanwil DJP Banten, Muhammad Haniv mengeluhkan praktik transfer pricing yang masih besar di wilayahnya. Kebanyakan dilakukan oleh perusahaan asing. Ini terjadi karena tidak ada regulasi tegas dan jelas untuk mengatasi transfer pricing.

"Hampir semua perusahaan PMA atau asing melakukan transfer pricing, kita ada masalah pabrik sepatu, rata-rata melakukan transfer pricing. Hanya untuk mengatasi transfer pricing itu kita belum cukup tool," ujar Muhammad Haniv di kantornya, Banten, Selasa (18/3).

Dia menyebutkan, rata-rata perusahaan asing memiliki kantor pusat di Cayman Island. Padahal, perusahaan tersebut fiktif dan hanya dijalankan melalui internet.

"Padahal tidak ada perusahaannya, hanya pula kosong. Nanti dicek, tidak ada. Kita harus bisa membuktikan dulu, jangan sembarang. Pertama alat, kedua orang, ketiga aturan. Kita belum punya peraturan yang baku," tegasnya.

Menurutnya, praktik transfer pricing bersifat komplikasi melibatkan pengetahuan tentang harga internasional. Sedangkan, di Indonesia tidak ada patokan untuk memastikan harga suatu barang yang dihasilkan pabrikan.

"Kita tidak punya agen luar negeri. Kedua, kerja sama pertukaran informasi dengan luar negeri belum intens. Kalau sudah, kita dapatkan perusahaan manapun yang Transfer pricing bisa kita atasi," katanya.

Dia mencontohkan ada beberapa investor asing yang masuk ke Banten dengan nilai investasi besar. Suami Cut Yanti ini menyebutkan, besaran investasi berkisar Rp 30 triliun hingga Rp 50 triliun. Hanya saja nilai investasi menjadi berkurang, sesuai dengan skema investment allowance.

Skema ini merupakan pengurangan penghasilan kena pajak berdasarkan persentase tertentu dari investasi baru atau bisa disebut penyusutan. Dia menyebutkan, di Banten yang paling besar nilai investasinya adalah PT. Krakatau Posko yang mencapai Rp 33 triliun.

"Investment allowance kan 10 persen dari nilai investasinya, misalnya Rp 30 triliun jadi investment allowance 1 tahun Rp 3 triliun yang mengurangi keuntungan dia," katanya.

Persoalan lain yang dihadapi Kanwil DJP Banten adalah pajak bahan baku impor. Haniv mengaku, mayoritas bahan baku di pabrikan baja selalu didatangkan dari impor. Namun, Kanwil DJP Banten belum memiliki alat untuk mengukur pajak bahan baku impor yang masuk melalui Banten.

"Jadinya besar akhirnya rugi terus. Belum lagi transfer pricing yang didapat dari harga bahan baku dipatok terlalu tinggi, harga jual barang jadi terlalu rendah. Jadi dua kita rugi di sini," jelasnya.

Sumber : merdeka.com

Editor : Maulana Lee

NINDY KATAKAN SEJUJURNYA

    saco-indonesia.com,

    Kalau dulu kita tak bertemu

    Takkan pernah ku rasakan artinya rindu

    Kalau kita dulu tak kenal

    Takkan pernah ku rasakan jatuh cinta

    Kau berikan aku cinta

    Dan semua yang terindah

    Namun hanya sehari saja

    [*]

    Katakanlah katakan sejujurnya

    Apa mungkin kita bersatu

    Kalau tak mungkin lagi hujan

    Menyejukkan hati kita

    [**]

    Untuk apa kau dan aku bersatu

    Kalau tak mungkin lagi kita

    Bercerita tentang cinta

    Biarkanlah ku pergi jauh

    katakan sayang, katakan sejujurnya

    Kalau memang hatimu tak sayang

    Mengapa dulu kau kirim surat padaku

    Sampul biru tertulis namaku

    Serasa terbang seluruh jiwa ragaku

    Namun apa yang terjadi

    Kau hancurkan semua mimpi

    Yang menyakitkan hati ini

    Back to [*] [**]

    Kalau tak mungkin lagi kita

    Menyanyikan lagu cinta

    Untuk apa aku di sini, ku disini

    Editor : Dian Sukmawati

As Vice Moves More to TV, It Tries to Keep Brash Voice

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.

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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.

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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?”

Jack Ely, Who Sang the Kingsmen’s ‘Louie Louie’, Dies at 71

A 2-minute-42-second demo recording captured in one take turned out to be a one-hit wonder for Mr. Ely, who was 19 when he sang the garage-band classic.

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.”

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

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

Ruth Rendell, Novelist Who Thrilled and Educated, Dies at 85

Ms. Rendell was a prolific writer of intricately plotted mystery novels that combined psychological insight, social conscience and teeth-chattering terror.

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

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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.

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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.”

Ellen Turner Dies at 87; Opened Kitchen to Feed the Needy of Knoxville

Ms. Turner and her twin sister founded the Love Kitchen in 1986 in a church basement in Knoxville, Tenn., and it continues to provide clothing and meals.

Dave Goldberg Was Lifelong Women’s Advocate

Even as a high school student, Dave Goldberg was urging female classmates to speak up. As a young dot-com executive, he had one girlfriend after another, but fell hard for a driven friend named Sheryl Sandberg, pining after her for years. After they wed, Mr. Goldberg pushed her to negotiate hard for high compensation and arranged his schedule so that he could be home with their children when she was traveling for work.

Mr. Goldberg, who died unexpectedly on Friday, was a genial, 47-year-old Silicon Valley entrepreneur who built his latest company, SurveyMonkey, from a modest enterprise to one recently valued by investors at $2 billion. But he was also perhaps the signature male feminist of his era: the first major chief executive in memory to spur his wife to become as successful in business as he was, and an essential figure in “Lean In,” Ms. Sandberg’s blockbuster guide to female achievement.

Over the weekend, even strangers were shocked at his death, both because of his relatively young age and because they knew of him as the living, breathing, car-pooling center of a new philosophy of two-career marriage.

“They were very much the role models for what this next generation wants to grapple with,” said Debora L. Spar, the president of Barnard College. In a 2011 commencement speech there, Ms. Sandberg told the graduates that whom they married would be their most important career decision.

In the play “The Heidi Chronicles,” revived on Broadway this spring, a male character who is the founder of a media company says that “I don’t want to come home to an A-plus,” explaining that his ambitions require him to marry an unthreatening helpmeet. Mr. Goldberg grew up to hold the opposite view, starting with his upbringing in progressive Minneapolis circles where “there was woman power in every aspect of our lives,” Jeffrey Dachis, a childhood friend, said in an interview.

The Goldberg parents read “The Feminine Mystique” together — in fact, Mr. Goldberg’s father introduced it to his wife, according to Ms. Sandberg’s book. In 1976, Paula Goldberg helped found a nonprofit to aid children with disabilities. Her husband, Mel, a law professor who taught at night, made the family breakfast at home.

Later, when Dave Goldberg was in high school and his prom date, Jill Chessen, stayed silent in a politics class, he chastised her afterward. He said, “You need to speak up,” Ms. Chessen recalled in an interview. “They need to hear your voice.”

Years later, when Karin Gilford, an early employee at Launch Media, Mr. Goldberg’s digital music company, became a mother, he knew exactly what to do. He kept giving her challenging assignments, she recalled, but also let her work from home one day a week. After Yahoo acquired Launch, Mr. Goldberg became known for distributing roses to all the women in the office on Valentine’s Day.

Ms. Sandberg, who often describes herself as bossy-in-a-good-way, enchanted him when they became friendly in the mid-1990s. He “was smitten with her,” Ms. Chessen remembered. Ms. Sandberg was dating someone else, but Mr. Goldberg still hung around, even helping her and her then-boyfriend move, recalled Bob Roback, a friend and co-founder of Launch. When they finally married in 2004, friends remember thinking how similar the two were, and that the qualities that might have made Ms. Sandberg intimidating to some men drew Mr. Goldberg to her even more.

Over the next decade, Mr. Goldberg and Ms. Sandberg pioneered new ways of capturing information online, had a son and then a daughter, became immensely wealthy, and hashed out their who-does-what-in-this-marriage issues. Mr. Goldberg’s commute from the Bay Area to Los Angeles became a strain, so he relocated, later joking that he “lost the coin flip” of where they would live. He paid the bills, she planned the birthday parties, and both often left their offices at 5:30 so they could eat dinner with their children before resuming work afterward.

Friends in Silicon Valley say they were careful to conduct their careers separately, politely refusing when outsiders would ask one about the other’s work: Ms. Sandberg’s role building Facebook into an information and advertising powerhouse, and Mr. Goldberg at SurveyMonkey, which made polling faster and cheaper. But privately, their work was intertwined. He often began statements to his team with the phrase “Well, Sheryl said” sharing her business advice. He counseled her, too, starting with her salary negotiations with Mark Zuckerberg.

“I wanted Mark to really feel he stretched to get Sheryl, because she was worth it,” Mr. Goldberg explained in a 2013 “60 Minutes” interview, his Minnesota accent and his smile intact as he offered a rare peek of the intersection of marriage and money at the top of corporate life.

While his wife grew increasingly outspoken about women’s advancement, Mr. Goldberg quietly advised the men in the office on family and partnership matters, an associate said. Six out of 16 members of SurveyMonkey’s management team are female, an almost unheard-of ratio among Silicon Valley “unicorns,” or companies valued at over $1 billion.

When Mellody Hobson, a friend and finance executive, wrote a chapter of “Lean In” about women of color for the college edition of the book, Mr. Goldberg gave her feedback on the draft, a clue to his deep involvement. He joked with Ms. Hobson that she was too long-winded, like Ms. Sandberg, but aside from that, he said he loved the chapter, she said in an interview.

By then, Mr. Goldberg was a figure of fascination who inspired a “where can I get one of those?” reaction among many of the women who had read the best seller “Lean In.” Some lamented that Ms. Sandberg’s advice hinged too much on marrying a Dave Goldberg, who was humble enough to plan around his wife, attentive enough to worry about which shoes his young daughter would wear, and rich enough to help pay for the help that made the family’s balancing act manageable.

Now that he is gone, and Ms. Sandberg goes from being half of a celebrated partnership to perhaps the business world’s most prominent single mother, the pages of “Lean In” carry a new sting of loss.

“We are never at 50-50 at any given moment — perfect equality is hard to define or sustain — but we allow the pendulum to swing back and forth between us,” she wrote in 2013, adding that they were looking forward to raising teenagers together.

“Fortunately, I have Dave to figure it out with me,” she wrote.

Review: ‘Frontline’ Looks at Missteps During the Ebola Outbreak

y NEIL GENZLINGER

Frontline

Frontline An installment of this PBS program looks at the effects of Ebola on Liberia and other countries, as well as the origins of the outbreak.

The program traces the outbreak to its origin, thought to be a tree full of bats in Guinea.

William Price Fox, Admired Southern Novelist and Humorist, Dies at 89

Mr. Fox, known for his well-honed countrified voice, wrote about things dear to South Carolina and won over Yankee critics.

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?”

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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.

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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.”

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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.”

Harvey R. Miller, Renowned Bankruptcy Lawyer, Dies at 82

Mr. Miller, of the firm Weil, Gotshal & Manges, represented companies including Lehman Brothers, General Motors and American Airlines, and mentored many of the top Chapter 11 practitioners today.

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

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

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

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

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

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

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

Continue reading the main story

Do you think race relations in the United States are generally good or generally bad?

60

40

20

0

White

Black

May '14

May '15

Generally bad

 

 

Continue reading the main story

Do you think race relations in the United States are getting better, getting worse or staying about the same?

Getting worse

Staying the same

Getting better

Don't know/No answer

All adults

Whites

Blacks

44%

37

17

46

36

16

41

42

15

 

 

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

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

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

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

Continue reading the main story

How would you describe your feelings about the police in your community? Would you say they make you feel mostly safe or mostly anxious?

Mostly safe

Mostly anxious

Don't know/No answer

All adults

Whites

Blacks

75%

21

3

81

16

3

51

42

7

 

 

Continue reading the main story

In general, do you think the police in most communities are more likely to use deadly force against a black person, or more likely to use it against a white person, or don’t you think race affects police use of deadly force?

Police more likely to use deadly force against a black person

Police more likely to use deadly force against a white person

Race DOES NOT affect police use of deadly force

Don't know/No answer

All adults

Whites

Blacks

44%

37%

79%

2%

2%

1%

46%

53%

16%

9%

8%

4%

 

 

Continue reading the main story

Do you favor or oppose on-duty police officers wearing video cameras that would record events and actions as they occur?

Favor

Oppose

Don't know/No answer

All adults

Whites

Blacks

92%

93%

93%

6%

5%

5%

2%

2%

2%

 

 

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

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

Continue reading the main story

As you may know, a Baltimore man, Freddie Gray, recently died after being in the custody of the Baltimore police. How much confidence do you have that the investigation by local authorities into this matter will be conducted fairly?

A lot

Some

Not much

None at all

Don't know/No answer

All adults

Whites

Blacks

29%

31

22

14

5

31

33

20

11

5

20

26

30

22

 

 

In general, do you think the unrest in Baltimore after the death of Freddie Gray was justified, or do you think the unrest was not justified?

Justified

Not justified

Don't know/No answer

All adults

Whites

Blacks

28%

61

11

26

64

11

37

57

6

 

 

Fatal Police Shootings: Accounts Since Ferguson

Photo

 

 

Take the Money and Run

The career criminals in genre novels don’t have money problems. If they need some, they just go out and steal it. But such financial transactions can backfire, which is what happened back in 2004 when the Texas gang in Michael