PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018





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saco-indonesia.com, Komisi Pemberantasan Korupsi (KPK) telah kembali memeriksa tangan kanan Gubernur Banten Ratu Atut Chosiyah, Siti Halimah alias Iim. Kepala Bagian Informasi dan Pemberitaan KPK, Priharsa Nugraha, juga telah mengatakan Iim akan diperiksa sebagai saksi untuk orang nomor satu di Banten itu.
 
"Diperiksa KPK untuk Ratu Atut," katanya saat dikonfirmasi, Jakarta, Senin (10/2/2014).
 
Iim sendiri juga akan diperiksa terkait dalam penyidikan KPK atas kasus dugaan penerimaan gratifikasi proyek alat kesehatan di Banten, dimana ia dianggap telah mengetahui berbagai proyek di Banten. Iim diketahui juga pernah dijemput paksa oleh KPK lantaran selalu mangkir dari pemanggilan yang dilayangkan lembaga pimpinan Abraham Samad itu.


Editor : Dian Sukmawati

KPK KEMBALI PERIKSA "TANGAN KANAN" ATUT

 

Emotional Spiritual Quotient (ESQ) is a combination of EQ and SQ , the merger between emotional intelligence and spiritual control. The benefits that can be achieved it is a balance between horizontal relationship (human to human) and Vertical (man and God). Emotional Spiritual Quotient (ESQ) is the ability to synergize IQ, EQ and SQ. Emotional Spiritual Quotient (ESQ) can make someone to interpret his life as worship to the God, He is integrative thinking by understanding the overall living conditions. A person who has the ability Emotional Spiritual Quotient (ESQ) tall would think from within, not from the outside and not be affected by interference from outside.

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DEFINITION OF EMOTIONAL SPIRITUAL QUOTIENT (SQ)

Saco-Indonesia.com,  Dipiala Dunia 1958 masih tetap berlangsung di Eropa, dan Swedia mendapat kehormatan untuk pertama kalinya menjadi tuan rumah. Di sini pula, turnamen empat tahunan ini diliput oleh televisi dan disiarkan secara internasional.

Format kompetisi pun berganti lagi. 16 tim dibagi dalam empat grup seperti pada tahun 1954, tetapi sekarang semua tim yang tergabung dalam satu grup harus saling berhadapan, tetapi tim yang berada di peringkat dua dan ketiga harus melewati babak play-off. Pada fase grup ini tak ada perpanjangan waktu. Dua tim teratas akan melaju ke perempat final, dan setelah itu formatnya menggunakan sistem knock-out.

Pada tahun ini, tak ada lagi sistem unggulan seperti pada 1954, tetapi setiap grup dihuni satu tim dari Eropa Barat, satu dari Eropa Timur, satu dari Inggris dan satu dari Amerika Latin. Dengan format ini, Inggris harus menerima kenyataan pahit karena satu grup dengan Brasil, Rusia dan peraih medali perunggu 1954, Austria.

Sementara itu, kekuatan Hungaria sudah sangat keropos menyusul kepergian pemain-pemain topnya seperti Puskas, Kacsis dan Czibor, yang meninggalkan negara ini pada tahun 1956 akibat invasi Uni Soviet ke negera mereka. Tak heran jika Hungaria yang di Piala Dunia sebelumnya sangat perkasa dan menakutkan, kini tak berdaya sehingga langsung tersingkir di fase grup.

Sebaliknya, Uni Soviet yang untuk pertama kalinya ikut Piala Dunia, langsung menebar ancaman. Negara "Beruang Merah" ini menjadi favorit.

Di ajang ini, muncul sosok baru bernama Pele, yang menghentak dunia. Pemain Brasil ini sangat menarik perhatian karena aksi-aksinya yang menawan. Sempat absen di pertandingan pertama, Pele mulai membuat kejutan ketika membawa Brasil menahan imbang Inggris dengan skor 0-0. Hasil imbang tanpa gol ini merupakan yang pertama kalinya di Piala Dunia. Dari sini, Brasil sangat difavoritkan menjadi juara, apalagi mereka melakukan inovasi dengan mengusung skema 4-2-4.

Striker Perancis Juste Fontaine juga membuat sensasi karena menjadi top skor Piala Dunia ini setelah mengoleksi 13 gol. Dia sukses membawa "Les Bleus" dengan mudah melewati babak penyisihan grup dan mereka merupakan tim paling produktif dengan torehan 11 gol.

Sukses juga diraih tuan rumah, Swedia, yang didampingi Wales untuk melewati penyisihan grup. Sedangkan Inggris dan Skotlandia tak bisa melanjutkan kiprahnya, karena tak mampu melewati fase grup.

Di perempat final, tak ada kejutan. Seperti yang diperkirakan, Jerman Barat menyingkirkan Yugoslavia dengan skor tipis 1-0, tuan rumah mengeliminasi Uni Soviet berkat kemenangan 2-0, kemudian Fontaine membawa Perancis membantai Irlandia Utara 4-0. Di partai lain, Pele menjadi pahlawan Brasil karena gol pertamanya di Piala Dunia membawa "Selecao" menembus semifinal meskipun hanya menang 1-0 atas Wales.

Memasuki babak-babak selanjutnya, pesta gol terjadi. Bayangkan, mulai semifinal hingga final, tercipta 27 gol! Pada babak empat besar Swedia menggulung Jerman Barat yang merupakan juara bertahan, dengan skor 3-1. Sedangkan pada partai lain, Pele memukau publik lewat hat-trick untuk menghentikan laju Fontaine dan kawan-kawan. Brasil menang 5-2 atas Perancis. Alhasil, Brasil bertemu Swedia di final.

Namun sebelum dunia menyaksikan pertai seru antara Brasil dan Swedia, para pecinta sepak bola dunia lebih dulu disuguhkan pertai sembilan gol antara Perancis dan Jerman Barat, untuk memperebutkan medali perunggu. Di sini Fontaine melengkapi prestasinya sebagai top skor (13 gol) berkat empat gol yang dihasilkannya untuk membawa Perancis menang 6-3. Fontaine juga menorehkan sejarah sebagai pencetak gol terbanyak dalam satu Piala Dunia.

Pada partai puncak, Pele lagi-lagi menunjukkan tajinya sebagai pemain bintang. "Si Mutiara Hitam" ini membawa Brasil menjadi juara setelah menekuk tuan rumah 5-2. Hasil tersebut membuat Brasil sebagai satu-satunya negara dari benua Amerika yang menjadi juara di Eropa dan sampai sekarang belum ada negara yang mampu menyamai prestasi tersebut--dalam sejarah, ketika Piala Dunia dilangsungkan di Eropa, maka negara dari benua Eropa yang menjadi juara, begitu juga sebaliknya, ketika diadakan di benua Amerika maka negara dari benua ini yang menjadi juara. Kecuali pada Piala Dunia 2002, di mana Brasil menjadi juara untuk kelima kalinya ketika Piala Dunia diselenggarakan di Korea-Jepang.

Sumber : Kompas.com

Editor : Maulana Lee

Pele Mengentak Dunia di Tahun 1958

saco-indonesia.com,

Perawatan Untuk Mesin Pengering

Mesin Pengering merupakan mesin pengering pakaian setelah proses pencucian dengan menggunakan mesin cuci. Mesin pengering ini biasanya telah tergabung dalam satu paket mesin cuci, dan banyak masyarakat yang lebih menyukai dan telah memilih mesin cuci yang telah dilengkapi dengan mesin pengering di dalamnya. Biasanya mesin pengering ini banyak di miliki oleh para pengusaha jasa laundry, karena akan dapat memudahkan dan mempercepat proses laundry yang sedang dilakukan. Apalagi cuaca yang tidak bisa di prediksikan, kadang siang panas terik namun sore hari hujan lebat dengan angin.  Sehingga akan susah untuk dapat mengeringkan pakaian dengan bantuan sinar matahari.  Oleh karena itu, harus diperlukan sebuah mesin cuci yang telah dilengkapi mesin pengering untuk dapat memudahkan proses pengeringan pakaian.

Perawatan Mesin Pengering
Mesin Pengering
Cara untuk membersihkan mesin pengering, pastilah akan sama halnya dengan membersihkan mesin cuci. Apalagi mesin pengering ini juga ada dalam satu paket bersama mesin cuci. Pasti, membersihkan nya akan juga sekaligus baik untuk mesin pengering dan juga mesin cuci nya. Berikut tips perawatan mesin pengering sekaligus mesin cuci, yaitu :

    Berusaha untuk mengatur mesin pengering dan mesin cuci dengan sistem penyetelan normal. Ini dilakukan untuk dapat menjaga perputaran mesin cuci dan juga mesin pengering, sehingga baik mesin cuci dan mesin pengering nya akan menjadi tahan lama.
    Usahakan tegangan mesin pengering dan mesin cuci cukup. Sebuah mesin pengering dan mesin cuci membutuhkan tegangan yang stabil  yaitu di bawah 240 volt.  Jika tegangan khusus mesin pengerring ini di atas, maka pematik api atau ignitor  tidak akan mampu berfungsi secara sempurna sehingga api tidak akan keluar dan mesin pengering tidak digunakan dengan maksimal. Untuk cek dan melihat tegangan mesin pengering, anda bisa menggunakan alat seperti stavolt.
    Sering cek elemen pemanas mesin pengering anda. Elemen pemanas pada mesin pengering ini seperti burner, pematik api, sensor termal panas.  Usahakan untuk selalu memeriksa dan membersihkan elemen tersebut dari kotoran, sehingga proses pengeringan akan dapat dilakukan dengan cepat. Pastikan selalu untuk melihat ignitor yang berwarna merah itu menyala  dan timbul percikan api ketika mesin pengering dihidupkan. Namun jika ignitor tersebut menyala dengan lampu indikatornya berwarna putih atau kekuningan, maka ada baiknya untuk segera ganti ignitor tersebut dengan yang baru.
    Pastikan pengaturan proses pengeringan sesuai dengan pakaian  yang akan dikeringkan. Untuk dapat mengatur proses pengeringan pakaian, anda alihkan tombol atau knop program  pada setelan normal heat atau panas sedang. Namun jika anda memilih tombola tau knop program no heat, maka tidak akan udara panas yang keluar. Semua hal tentang pengaturan pengeringan mulai dari memilih waktu, pilihan program, jenis kain dan juga temperature sangat memainkan peran yang sangat penting  dalam proses pengeringan pakaian di dalam mesin pengering

Editor : Dian Sukmawati

PERAWATAN MESIAN PENGERING

saco-indonesia.com,

Memasang Batu hias Pada Dinding Bangunan

Bangunan jaman sekarang sudah sangat berbeda dengan bangunan jaman dahulu, berbeda dalam artian mengelami perubahan yang sangat baik, meningkat dengan pesat, bahkan relief, ukiran batu yang dahulu telah menjadi suatu alat untuk proses ritual keagamaan kini telah menjadi macam hiasan untuk dapat mempercantik bangunan, baik itu apartemen, perumahan, hotel, bahkan rumah biasa. Beragam batu hias yang digunakan untuk dapat menghias bangunanpun sudah tersedia di pasar. dan sudah bukan hanya kalangan atas yang menggunakan batu hias untuk dapat mempercantik Dinding bangunan.

Sangat disayangkan apabila suatu hal yang sudah umum namun kita belum dapat mengetahui segala tentangnya, mulai dari jenis batu hias yang bagus digunakan untuk dinding, paduan warna yang cocok hingga cara pemasangan batu hias tersebut terhadap dinding bangunan. Untuk proses pemasangan sendiri sebenarnya dapat dilakukan oleh siapapun, sehingga tak perlu menyewa tukang untuk dapat memabantu memasangnya.

Berikut ini beberapa langkah untuk dapat memasang batu hias ke dinding bangunan :

    langkah 1

    Awali pemasangan harus dengan menetukan pola pemasangan.
    Pemasangan rata atau tidak rata (maju-mundur) tergantung selera.
    Jika ingin memasang dengan pola permukaan tidak rata, tentukan pola
    dan tinggi satu batu dengan batu lainnya.

    langkah 2

    Pastikan ukuran batu harus sesuai dengan ukuran dinding yang akan ditempeli. Jika
    dibutuhkan ukuran khusus, potong batu alam dengan menggunakan alat
    pemotong batu atau keramik.

    langkah 3

    Untuk dapat menempelkan batu pada dinding, tuangkan semen ke bagian
    belakang batu. Tuang hati-hati agar cairan semen tidak mengotori
    bagian depan. Jika ada sisa air atau adukan semen menempel pada
    bagian depan, segera bersihkan.

    langkah 4

    Berbeda dengan memasang lantai keramik, pemasangan batu alam
    tanpa nat akan lebih menarik. Jika menghendaki efek batu
    menyambung, hindari mengisikan adukan semen di antara celah batu.

    langkah 5

    Setelah seluruh batu terpasang, tunggu satu-dua hari sampai semen
    kering dan batu menempel erat. Setelahnya, bersihkan dinding dengan
    menyemprotkan air pada dinding batu hingga debu dan kotoran hilang.
    Jika dibutukan, gunakan sikat kawat untuk dapat merontokkan kotoran yang
    membandel.


    Editor : Dian Sukmawati

CARA PEMASANGAN BATU ALAM PADA DINDING
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.
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.

Review: ‘9-Man’ Is More Than a Game for Chinese-Americans

A variation of volleyball with nine men on each side is profiled Tuesday night on the World Channel in an absorbing documentary called “9-Man.”

Television

‘Hard Earned’ Documents the Plight of the Working Poor

“Hard Earned,” an Al Jazeera America series, follows five working-class families scrambling to stay ahead on limited incomes.

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

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

WASHINGTON — The last three men to win the Republican nomination have been the prosperous son of a president (George W. Bush), a senator who could not recall how many homes his family owned (John McCain of Arizona; it was seven) and a private equity executive worth an estimated $200 million (Mitt Romney).

The candidates hoping to be the party’s nominee in 2016 are trying to create a very different set of associations. On Sunday, Ben Carson, a retired neurosurgeon, joined the presidential field.

Senator Marco Rubio of Florida praises his parents, a bartender and a Kmart stock clerk, as he urges audiences not to forget “the workers in our hotel kitchens, the landscaping crews in our neighborhoods, the late-night janitorial staff that clean our offices.”

Gov. Scott Walker of Wisconsin, a preacher’s son, posts on Twitter about his ham-and-cheese sandwiches and boasts of his coupon-clipping frugality. His $1 Kohl’s sweater has become a campaign celebrity in its own right.

Senator Rand Paul of Kentucky laments the existence of “two Americas,” borrowing the Rev. Dr. Martin Luther King Jr.’s phrase to describe economically and racially troubled communities like Ferguson, Mo., and Detroit.

Photo
 
Senator Marco Rubio of Florida praises his parents, a bartender and a Kmart stock clerk. Credit Joe Raedle/Getty Images

“Some say, ‘But Democrats care more about the poor,’ ” Mr. Paul likes to say. “If that’s true, why is black unemployment still twice white unemployment? Why has household income declined by $3,500 over the past six years?”

We are in the midst of the Empathy Primary — the rhetorical battleground shaping the Republican presidential field of 2016.

Harmed by the perception that they favor the wealthy at the expense of middle-of-the-road Americans, the party’s contenders are each trying their hardest to get across what the elder George Bush once inelegantly told recession-battered voters in 1992: “Message: I care.”

Their ability to do so — less bluntly, more sincerely — could prove decisive in an election year when power, privilege and family connections will loom large for both parties.

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Questions of understanding and compassion cost Republicans in the last election. Mr. Romney, who memorably dismissed the “47 percent” of Americans as freeloaders, lost to President Obama by 63 percentage points among voters who cast their ballots for the candidate who “cares about people like me,” according to exit polls.

And a Pew poll from February showed that people still believe Republicans are indifferent to working Americans: 54 percent said the Republican Party does not care about the middle class.

That taint of callousness explains why Senator Ted Cruz of Texas declared last week that Republicans “are and should be the party of the 47 percent” — and why another son of a president, Jeb Bush, has made economic opportunity the centerpiece of his message.

With his pedigree and considerable wealth — since he left the Florida governor’s office almost a decade ago he has earned millions of dollars sitting on corporate boards and advising banks — Mr. Bush probably has the most complicated task making the argument to voters that he understands their concerns.

On a visit last week to Puerto Rico, Mr. Bush sounded every bit the populist, railing against “elites” who have stifled economic growth and innovation. In the kind of economy he envisions leading, he said: “We wouldn’t have the middle being squeezed. People in poverty would have a chance to rise up. And the social strains that exist — because the haves and have-nots is the big debate in our country today — would subside.”

Continue reading the main story
 

Who Is Running for President (and Who’s Not)?

Republicans’ emphasis on poorer and working-class Americans now represents a shift from the party’s longstanding focus on business owners and “job creators” as the drivers of economic opportunity.

This is intentional, Republican operatives said.

In the last presidential election, Republicans rushed to defend business owners against what they saw as hostility by Democrats to successful, wealthy entrepreneurs.

“Part of what you had was a reaction to the Democrats’ dehumanization of business owners: ‘Oh, you think you started your plumbing company? No you didn’t,’ ” said Grover Norquist, the conservative activist and president of Americans for Tax Reform.

But now, Mr. Norquist said, Republicans should move past that. “Focus on the people in the room who know someone who couldn’t get a job, or a promotion, or a raise because taxes are too high or regulations eat up companies’ time,” he said. “The rich guy can take care of himself.”

Democrats argue that the public will ultimately see through such an approach because Republican positions like opposing a minimum-wage increase and giving private banks a larger role in student loans would hurt working Americans.

“If Republican candidates are just repeating the same tired policies, I’m not sure that smiling while saying it is going to be enough,” said Guy Cecil, a Democratic strategist who is joining a “super PAC” working on behalf of Hillary Rodham Clinton.

Republicans have already attacked Mrs. Clinton over the wealth and power she and her husband have accumulated, caricaturing her as an out-of-touch multimillionaire who earns hundreds of thousands of dollars per speech and has not driven a car since 1996.

Mr. Walker hit this theme recently on Fox News, pointing to Mrs. Clinton’s lucrative book deals and her multiple residences. “This is not someone who is connected with everyday Americans,” he said. His own net worth, according to The Milwaukee Journal Sentinel, is less than a half-million dollars; Mr. Walker also owes tens of thousands of dollars on his credit cards.

Continue reading the main story

But showing off a cheap sweater or boasting of a bootstraps family background not only helps draw a contrast with Mrs. Clinton’s latter-day affluence, it is also an implicit argument against Mr. Bush.

Mr. Walker, who featured a 1998 Saturn with more than 100,000 miles on the odometer in a 2010 campaign ad during his first run for governor, likes to talk about flipping burgers at McDonald’s as a young person. His mother, he has said, grew up on a farm with no indoor plumbing until she was in high school.

Mr. Rubio, among the least wealthy members of the Senate, with an estimated net worth of around a half-million dollars, uses his working-class upbringing as evidence of the “exceptionalism” of America, “where even the son of a bartender and a maid can have the same dreams and the same future as those who come from power and privilege.”

Mr. Cruz alludes to his family’s dysfunction — his parents, he says, were heavy drinkers — and recounts his father’s tale of fleeing Cuba with $100 sewn into his underwear.

Gov. Chris Christie of New Jersey notes that his father paid his way through college working nights at an ice cream plant.

But sometimes the attempts at projecting authenticity can seem forced. Mr. Christie recently found himself on the defensive after telling a New Hampshire audience, “I don’t consider myself a wealthy man.” Tax returns showed that he and his wife, a longtime Wall Street executive, earned nearly $700,000 in 2013.

The story of success against the odds is a political classic, even if it is one the Republican Party has not been able to tell for a long time. Ronald Reagan liked to say that while he had not been born on the wrong side of the tracks, he could always hear the whistle. Richard Nixon was fond of reminding voters how he was born in a house his father had built.

“Probably the idea that is most attractive to an average voter, and an idea that both Republicans and Democrats try to craft into their messages, is this idea that you can rise from nothing,” said Charles C. W. Cooke, a writer for National Review.

There is a certain delight Republicans take in turning that message to their advantage now.

“That’s what Obama did with Hillary,” Mr. Cooke said. “He acknowledged it openly: ‘This is ridiculous. Look at me, this one-term senator with dark skin and all of America’s unsolved racial problems, running against the wife of the last Democratic president.”

G.O.P. Hopefuls Now Aiming to Woo the Middle Class

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

BEIJING (AP) — The head of Taiwan's Nationalists reaffirmed the party's support for eventual unification with the mainland when he met Monday with Chinese President Xi Jinping as part of continuing rapprochement between the former bitter enemies.

Nationalist Party Chairman Eric Chu, a likely presidential candidate next year, also affirmed Taiwan's desire to join the proposed Chinese-led Asian Infrastructure Investment Bank during the meeting in Beijing. China claims Taiwan as its own territory and doesn't want the island to join using a name that might imply it is an independent country.

Chu's comments during his meeting with Xi were carried live on Hong Kong-based broadcaster Phoenix Television.

The Nationalists were driven to Taiwan by Mao Zedong's Communists during the Chinese civil war in 1949, leading to decades of hostility between the sides. Chu, who took over as party leader in January, is the third Nationalist chairman to visit the mainland and the first since 2009.

Relations between the communist-ruled mainland and the self-governing democratic island of Taiwan began to warm in the 1990s, partly out of their common opposition to Taiwan's formal independence from China, a position advocated by the island's Democratic Progressive Party.

Despite increasingly close economic ties, the prospect of political unification has grown increasingly unpopular on Taiwan, especially with younger voters. Opposition to the Nationalists' pro-China policies was seen as a driver behind heavy local electoral defeats for the party last year that led to Taiwanese President Ma Ying-jeou resigning as party chairman.

Taiwan party leader affirms eventual reunion with China

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

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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

“It was really nice to play with other women and not have this underlying tone of being at each other’s throats.”

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Hockey is not exactly known as a city game, but played on roller skates, it once held sway as the sport of choice in many New York neighborhoods.

“City kids had no rinks, no ice, but they would do anything to play hockey,” said Edward Moffett, former director of the Long Island City Y.M.C.A. Roller Hockey League, in Queens, whose games were played in city playgrounds going back to the 1940s.

From the 1960s through the 1980s, the league had more than 60 teams, he said. Players included the Mullen brothers of Hell’s Kitchen and Dan Dorion of Astoria, Queens, who would later play on ice for the National Hockey League.

One street legend from the heyday of New York roller hockey was Craig Allen, who lived in the Woodside Houses projects and became one of the city’s hardest hitters and top scorers.

“Craig was a warrior, one of the best roller hockey players in the city in the ’70s,” said Dave Garmendia, 60, a retired New York police officer who grew up playing with Mr. Allen. “His teammates loved him and his opponents feared him.”

Young Craig took up hockey on the streets of Queens in the 1960s, playing pickup games between sewer covers, wearing steel-wheeled skates clamped onto school shoes and using a roll of electrical tape as the puck.

His skill and ferocity drew attention, Mr. Garmendia said, but so did his skin color. He was black, in a sport made up almost entirely by white players.

“Roller hockey was a white kid’s game, plain and simple, but Craig broke the color barrier,” Mr. Garmendia said. “We used to say Craig did more for race relations than the N.A.A.C.P.”

Mr. Allen went on to coach and referee roller hockey in New York before moving several years ago to South Carolina. But he continued to organize an annual alumni game at Dutch Kills Playground in Long Island City, the same site that held the local championship games.

The reunion this year was on Saturday, but Mr. Allen never made it. On April 26, just before boarding the bus to New York, he died of an asthma attack at age 61.

Word of his death spread rapidly among hundreds of his old hockey colleagues who resolved to continue with the event, now renamed the Craig Allen Memorial Roller Hockey Reunion.

The turnout on Saturday was the largest ever, with players pulling on their old equipment, choosing sides and taking once again to the rink of cracked blacktop with faded lines and circles. They wore no helmets, although one player wore a fedora.

Another, Vinnie Juliano, 77, of Long Island City, wore his hearing aids, along with his 50-year-old taped-up quads, or four-wheeled skates with a leather boot. Many players here never converted to in-line skates, and neither did Mr. Allen, whose photograph appeared on a poster hanging behind the players’ bench.

“I’m seeing people walking by wondering why all these rusty, grizzly old guys are here playing hockey,” one player, Tommy Dominguez, said. “We’re here for Craig, and let me tell you, these old guys still play hard.”

Everyone seemed to have a Craig Allen story, from his earliest teams at Public School 151 to the Bryant Rangers, the Woodside Wings, the Woodside Blues and more.

Mr. Allen, who became a yellow-cab driver, was always recruiting new talent. He gained the nickname Cabby for his habit of stopping at playgrounds all over the city to scout players.

Teams were organized around neighborhoods and churches, and often sponsored by local bars. Mr. Allen, for one, played for bars, including Garry Owen’s and on the Fiddler’s Green Jokers team in Inwood, Manhattan.

Play was tough and fights were frequent.

“We were basically street gangs on skates,” said Steve Rogg, 56, a mail clerk who grew up in Jackson Heights, Queens, and who on Saturday wore his Riedell Classic quads from 1972. “If another team caught up with you the night before a game, they tossed you a beating so you couldn’t play the next day.”

Mr. Garmendia said Mr. Allen’s skin color provoked many fights.

“When we’d go to some ignorant neighborhoods, a lot of players would use slurs,” Mr. Garmendia said, recalling a game in Ozone Park, Queens, where local fans parked motorcycles in a lineup next to the blacktop and taunted Mr. Allen. Mr. Garmendia said he checked a player into the motorcycles, “and the bikes went down like dominoes, which started a serious brawl.”

A group of fans at a game in Brooklyn once stuck a pole through the rink fence as Mr. Allen skated by and broke his jaw, Mr. Garmendia said, adding that carloads of reinforcements soon arrived to defend Mr. Allen.

And at another racially incited brawl, the police responded with six patrol cars and a helicopter.

Before play began on Saturday, the players gathered at center rink to honor Mr. Allen. Billy Barnwell, 59, of Woodside, recalled once how an all-white, all-star squad snubbed Mr. Allen by playing him third string. He scored seven goals in the first game and made first string immediately.

“He’d always hear racial stuff before the game, and I’d ask him, ‘How do you put up with that?’” Mr. Barnwell recalled. “Craig would say, ‘We’ll take care of it,’ and by the end of the game, he’d win guys over. They’d say, ‘This guy’s good.’”

Tribute for a Roller Hockey Warrior

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.

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At the National Institutes of Health, Dr. Suzman’s signature accomplishment was the central role he played in creating a global network of surveys on aging.

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

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

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WASHINGTON — During a training course on defending against knife attacks, a young Salt Lake City police officer asked a question: “How close can somebody get to me before I’m justified in using deadly force?”

Dennis Tueller, the instructor in that class more than three decades ago, decided to find out. In the fall of 1982, he performed a rudimentary series of tests and concluded that an armed attacker who bolted toward an officer could clear 21 feet in the time it took most officers to draw, aim and fire their weapon.

The next spring, Mr. Tueller published his findings in SWAT magazine and transformed police training in the United States. The “21-foot rule” became dogma. It has been taught in police academies around the country, accepted by courts and cited by officers to justify countless shootings, including recent episodes involving a homeless woodcarver in Seattle and a schizophrenic woman in San Francisco.

Now, amid the largest national debate over policing since the 1991 beating of Rodney King in Los Angeles, a small but vocal set of law enforcement officials are calling for a rethinking of the 21-foot rule and other axioms that have emphasized how to use force, not how to avoid it. Several big-city police departments are already re-examining when officers should chase people or draw their guns and when they should back away, wait or try to defuse the situation

Police Rethink Long Tradition on Using Force
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