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Portal Lowongan Kerja Indonesia. Update Informasi Lowongan Kerja Terbaru Januari 2014 di MULTI DISPLAY DESIGN COMPUTER sebagai Teksnisi Komputer. Perusahaan tersebut sedang membutuhkan tenaga kerja profesional untuk menempati kursi kekosongan. Bagi anda yang berminat untuk menempati kekosongan tersebut, silahkan baca persyaratan pendaftaran dan simak artikel selengkapnya di bawah ini :
 
 
Profil Perusahaan : Kami adalah sebuah Toko yang menjual berbagai jenis komputer yang sedang berkembang di Bandung, saat ini membutuhkan kandidat yang handal.
 
Alamat : Jl. Binong Jati no. 32 Bandung
 
Lokasi Kerja : Bandung
Posisi Pekerjaan : Teknisi Komputer
 
Persyaratan :
 
  • Laki-laki 
  • Usia maks 35 tahun 
  • Pendidikan min SMU
  • Berpengalaman dibidangnya 
  • Menguasai hardware & Software
  • Bisa memperbaiki dengan baik
  • Teliti Bertanggung jawab terhadap pekerjaannya
  • Cekatan, jujur dan berpengalaman

Baca Selengkapnya di Lowongan Kerja Januari Terbaru di MULTI DISPLAY DESIGN COMPUTER | Bandung

Tag Lowongan Kerja Terbaru Januari 2014 : Bekasi, Bogor, Karawang, Malang, Banda Aceh, Bandar Lampung, Banyuasin, Batam, Baturaja, Bengkalis, Bengkulu, Blambangan Umpu, Bukittinggi, Gedong Tataan, Gunung Sitoli, Gunung Sugih, Gunung Tua, Indralaya, Jambi, Kalianda, Karang Baru, Karang Tinggi, Kayu Agung, Kisaran, Koba, Kota Agung, Kota Bumi, Kota Pinang, Kuala Tungkal, Kutacane, Lahat, Lhokseumawe, Limapuluh, Liwa, Manggar, Manna, Martapura, Medan, Menggala, Metro, Pagaralam, Pandan, Panguruan, Pariaman, Payakumbuh, Pekanbaru, Pematang Siantar, Prabumulih, Pringsewu, Sabang, Salak, Sawahlunto, Selat Panjang, Solok, Stabat, Subulussalam, Sukadana, Tebing Tinggi, Ambarawa, Anyer, Bandung, Bangil, Banjar, Banjarnegara, Bangkalan, Bantul, Banyumas, Banyuwangi, Batang, Batu, Bekasi, Blitar, Blora, Bogor, Bojonegoro, Bondowoso, Boyolali, Bumiayu, Brebes, Caruban, Cianjur, Ciamis, Cibinong, Cikampek, Cikarang, Cilacap, Cilegon, Cirebon, Demak, Depok, Garut, Gresik, Indramayu, Jakarta, Jember, Jepara, Jombang, Kajen, Karanganyar, Kebumen, Kediri, Kendal, Kepanjen, Klaten, Kraksaan, Kudus, Kuningan, Lamongan, Lumajang, Madiun, Magelang, Magetan, Majalengka, Malang, Mojokerto, Mojosari, Mungkid, Ngamprah, Nganjuk, Ngawi, Pacitan, Pamekasan, Pandeglang, Pare, Pati, Pasuruan, Pekalongan, Pelabuhan Ratu, Pemalang, Ponorogo, Probolinggo, Purbalingga, Purwakarta, Purwodadi, Purwokerto, Purworejo, Rangkasbitung, Rembang, Salatiga, Sampang, Semarang, Serang, Sidayu, Sidoarjo, Singaparna, Situbondo, Slawi, Sleman, Soreang, Sragen, Subang, Sukabumi, Sukoharjo, Sumber, Sumedang, Sumenep, Surabaya, Surakarta, Tasikmalaya, Tangerang, Tangerang Selatan, Tegal, Temanggung, Tigaraksa, Trenggalek, Tuban, Tulungagung, Ungaran, Wates, Wlingi, Wonogiri, Wonosari, Wonosobo, Yogyakarta.
 
Demikianlah Informasi mengenai Lowongan Kerja Januari Terbaru 2014 di Bandung / D3 / Jawa Barat / Lowongan Kerja / SMA. Semoga artikel Lowongan Kerja Januari Terbaru di MULTI DISPLAY DESIGN COMPUTER | Bandung dapat bermanfaat untuk menggapai karir anda, dan dapat mengurangi pengangguran yang ada di Indonesia. Terima Kasih.

Baca Portal Lowongan Kerja Indonesia Terbaru Januari Lainnya :

LOWONGAN KERJA JANUARI TERBARU DI PT. STAR COSMOS | BALI

LOWONGAN KERJA JANUARI TERBARU DI MULTI DISPLAY DESIGN COMPUTER | BANDUNG

Sebagai salah satu destinasi wisata populer di Indonesia, Danau Toba selalu menarik minat traveler lokal maupun mancanegara. Tidak perlu heran, Danau Toba memang telah memiliki pemandangan yang sangat indah dengan hamparan air danau yang jernih serta pemandangan pegunungan hijau yang sangat menyejukkan.

Memiliki panjang 100 kilometer dan lebar 30 kilometer, Danau Toba adalah danau terbesar di Indonesia. Lebih membanggakan lagi, Danau Toba juga merupakan danau vulkanik terbesar di dunia lho!

Karena terletak di ketinggian 900 meter dari permukaan laut, Danau Toba telah menjadi tempat wisata yang cocok kalau Anda mau melepas lelah dan refreshing karena udaranya yang sangat sejuk dan segar. Anda juga akan bisa menikmati keindahan alam di sini dengan berbagai cara seperti mendaki gunung, berenang, berperahu atau kegiatan lainnya. Belum lagi, Anda bisa mengunjungi Pulau Samosir yang terletak di tengah danau dan telah memiliki panorama yang tidak kalah indah.

Tapi, sebelum bersenang-senang di Danau Toba, tentunya Anda juga perlu menyiapkan perjalanan menuju obyek wisata terpopuler di Sumatera Utara ini. Perjalanan menuju Danau Toba memang cukup sangat panjang. Setelah ‘terbang’ ke Medan, Anda juga harus menempuh perjalanan selama kira-kira 4 jam menuju Kota Parapat. Tapi, traveler sebenarnya juga bisa memanfaatkan Bandara Silangit yang terletak di Kabupaten Tapanuli Utara, karena bandara ini hanya berjarak 30 menit ke Danau Toba dan satu jam ke Pulau Samosir. Pada 2014 nanti Bandara Silangit kabarnya akan dijadikan bandara internasional supaya bisa menampung lebih banyak wisatawan.

Anda juga akan menemukan banyak penginapan di sepanjang tepi danau, mulai dari guest house, villa, bungalow dan hotel, jadi Anda tidak perlu pusing lagi untuk memikirkan masalah akomodasi. Bagaimana dengan makanan? Wah, kamu tidak akan ‘kelaparan’ selama di Danau Toba karena banyak restoran yang telah menyajikan masakan lokal di sepanjang jalan utama. Masakan khas Sumatera Utara sendiri mirip dengan masakan Padang, karena kaya rasa, bersantan dan mayoritas memiliki citarasa pedas.

Selain menikmati pemanangan spektakuler Danau Toba dan sekitarnya, Anda juga bisa menemukan destinasi menarik lainnya. Mungkin tidak banyak yang tahu kalau Danau Toba ternyata juga memiliki pantai, yaitu Pantai Lumban Binaga.

Tentu saja, kunjungan ke Danau Toba tidak akan lengkap tanpa menyeberang ke Pulau Samosir. Di sini, Anda juga bisa mengunjungi dua kecamatan yang populer di kalangan wisatawan yaitu Tomok dan Tuktuk.

PSamosir1

Ada tiga tempat yang wajib Anda kunjungi selama di Tomok: Boneka Si Gale-Gale, Makam Raja Sidabutar, dan Museum Batak. Pertunjukan Boneka Si Gale-Gale biasa ditampilkan bersama dengan pertunjukan tari Tor Tor yang terkenal. Sementara, di Makam Raja Sidabutar Anda bisa melihat batu makam besar yang dipahat berbentuk wajah dengan ciri khas rambut gondrong Sang Raja.

Kalau Tomok penuh dengan obyek wisata menarik, Tuktuk adalah kecamatan yang dipenuhi tempat penginapan. Jadi, kalau Anda ingin segera melepas lelah ketika tiba di Pulau Samosir, langsung saja datang ke Tuktuk ya!

Belum puas menjelajah Danau Toba? Anda juga bisa mengeksplorasi Kota Parapat dan mengunjungi sejumlah tempat wisata menarik. Termasuk Batu Gantung yang unik karena bentuknya yang menyerupai manusia. Konon, batu ini telah diyakini merupakan penjelmaan gadis cantik bernama Seruni. Menurut legenda masyarakat setempat, Seruni mencoba bunuh diri melompat ke Danau Toba karena tidak ingin dijodohkan oleh orangtuanya. Tapi saat berjalan menuju tebing, dia terperosok ke dalam lubang batu yang besar dan memutuskan mengakhiri hidupnya di batu itu. Batu tersebut akhirnya menghimpit tubuh Seruni sehingga kini kamu bisa melihat batu besar yang menyerupai tubuh seorang gadis yang seolah-olah menggantung di tepi tebing.

OLYMPUS DIGITAL CAMERA

Pesona Danau Toba memang sulit diacuhkan ya, travelers? Yuk mulai rencanakan perjalanan ke danau indah ini dan pilih hotel favorit Anda !

TEMPAT WISATA DANAU TOBA

Saco-Indonesia.com - Sosok Desi Priharyana jadi sorotan. Murid kelas 1 SMKN 2 Yogyakarta itu membawa sepeda ontelnya yang dipasangi gerobak berisi aneka makanan ringan yang akan dijual. Bersepeda sejauh 12 kilometer menjadi rutinitas paginya menuju sekolahnya yang terletak di Jalan AM Sangaji, Jetis, Yogyakarta.

Desi berjualan slondok, camilan tradisional Yogya yang terbuat dari singkong. Hal ini dilakukannya supaya bisa terus bersekolah.

Desi ingin menjadi seorang pengusaha yang sukses dibidang kuliner. Dia berniat untuk mengembangkan usahanya berjualan Slondok sehingga dia bisa mendapatkan keuntungan besar. Namun hal tersebut baru akan dilakukannya setelah dia menyelesaikan sekolahnya.

"Kalau sekarang waktunya belum ada, nanti kalau sudah lulus pengen saya kembangkan usaha ini," ujar Desi.

Meski demikian, Desi juga berharap, setelah lulus sekolah dia bisa melanjutkan ke perguruan tinggi negeri di Yogyakarta. Dia mengatakan, jika ada kesempatan untuk melanjutkan ke pendidikan lebih tinggi dia akan memilih UGM atau UNY sebagai tempatnya belajar.

"Kalau ada kesempatan pengen kuliah di UGM atau di UNY di fakultas Teknik, kalau nggak ya masih bisa buka usaha. Doakan bisa dapat beasiswa di sekolah, biar bisa nabung buat kuliah," harap Desi.

Laiknya anak muda yang sedang bergairah dalam urusan cinta, Desi pun tak mau kalah ketinggalan. Biarpun tidak sekeren anak-anak muda yang menggunakan sepeda motor dan dandanan modis, Desi tetap bisa memikat kekasih hatinya.

Dengan malu-malu Desi bercerita tentang kisah cintanya yang tergolong unik. Kala itu desi tengah mendekati seorang gadis yang merupakan atlet atletik. Saat Desi mengutarakan perasaannya dan meminta sang pujaan hati untuk menjadi pacaranya, Desi diberikan syarat.

"Dulu punya pacar, atlet atletik. Sebelum jadian dikasih syarat. Karena dia atlet dikasih syarat harus bisa kalahin dia lari, kalau bisa kalahin mau jadi pacar," kenang Desi.

Tanpa pikir panjang, Desi pun langsung menyanggupi syarat tersebut. Desi pun meminta waktu dua minggu untuk berlatih lari. Setelah dua minggu dilalui, dengan menggunakan sepedanya, Desi melaju dengan semangat dari Toino tempatnya tinggal menuju Kalasan yang jaraknya sekitar 20 kilo meter.

Sampai disana tanpa basa-basi Desi pun langsung mengajak adu lari. Beruntung, Desi memenangkan perlombaan itu sekaligus memenangkan hati pujaannya.

"Untungnya menang, jadi punya pacar," ungkapnya.

Meski demikian, Desi tidak mau disibukkan hanya untuk urusan pacaran. Desi beranggapan masa mudanya jauh lebih berarti jika digunakan untuk berkarya.

"Pacaran ya positif, tapi ada juga hal lain yang baik untuk menunjang masa depan," jelasnya.

Sumber : Merdeka.com

Editor : Maulana Lee

Kisah cinta dan cita-cita Desi, anak SMK penjual slondok

BREBES,Saco-Indonesia.com - Menteri Pertanian RI Suswono meminta para petani untuk tidak segan lagi menanam kedelai. Pasalnya, pemerintah akan menjamin harga kedelai, sehingga para petani tidak perlu takut harganya akan anjlok saat panen nanti.

"Perpres (Peraturan Presiden)-nya sudah keluar. Bulog sudah ditugaskan untuk membeli kedelai petani. Jadi tidak usah takut harganya akan anjlok," kata Mentan Suswono saat berdialog dengan para petani kedelai di Desa Sisalam, Kecamatan Wanasari, Kabupaten Brebes, Jawa Tengah, seperti dikutip siaran pers Kementerian Pertanian (Kemtan), Jumat (7/6/2013).

Mentan mengemukakan, pihaknya sudah bersepakat dengan Kementerian Perdagangan tentang Harga Pokok Pembelian (HPP) kedelai sebesar Rp 7.000 per kilogram. Jika di pasaran harganya anjlok di bawah Rp 7.000, Bulog dapat mengambil langkah-langkah untuk membeli kedelai petani.

Sejak Mei lalu Pemerintah mengeluarkan Peraturan Presiden Nomor 32 Tahun 2013 yang ditandatangani oleh Presiden Susilo Bambang Yudhoyono tanggal 8 Mei 2013. Perpres  itu menugaskan Bulog untuk menangani pengamanan harga dan penyaluran kedelai dalam upaya mendukung dan meningkatkan ketahanan pangan.

Dalam Perpres itu disebutkan, tata cara pelaksanaan pengamanan harga dan penyaluran kedelai diatur oleh Menteri Perdagangan setelah memperhatikan pertimbangan Menteri Pertanian, Menteri Perindustrian, dan Menteri Koperasi dan Usaha Kecil dan Menengah.

Dalam melaksanakan tugasnya Bulog dapat bermitra dengan badan usaha milik negara dan/atau badan usaha lainnya dengan mengikuti tatakelola perusahaan yang baik.

Dengan adanya jaminan pengamanan harga da distribusi kedelan Mentan berharap keengganan petani untuk menanam kedelai sirna. Dalam kesempatan itu Mentan mengakui target pencpaian swasembada kedelai menghadapi berbagai kendala. Selain keengganan petani menanam kedelai, juga terbatasnya lahan akibat.

Saat ini luas panen kedelai secara nasional hanya 700.000 hektre. Dengan rata-rata produksi per hektare 1,5 ton – 2 ton, maka produksi nasional hanya 1,05 juta – 1,4 juta ton. Padahal kebutuhan nasional mencapai 3,2 juta ton per tahun.

“Praktis produksi kedelai nasional baru 30 persen dari kebutuhan nasional. Sisanya terpaksa dipenuhi dari kedelai impor,” terang Mentan.

Mentan sudah meminta tambahan lahan seluas 500.000 hektare untuk tanaman kedelai kepaa Badan Pertanahan Nasional (BPN). Jika terealisasi plus adanya jaminan harga dan distribusi dari Bulog, ia yakin target swasembada kedelai dapat segera terealisir. (Amal Ihsan Hadian/Kontan)

 

Editor :Liwon Maulana
Mentan Minta Agar Petani Tak Segan Tanam Kedelai

Sebuah kamera yang tak sengaja jatuh ke laut masih dalam kondisi "on" merekam pemandangan di bawah laut. Sebelumnya, kamera itu meluncur jatuh dari papan selancar milik Jens Knof, saat ia asyik bermain di atas gulungan ombak di Pantai Kite, Cabarete, Republik Dominika.
Saat terjatuh, ia berpikir akan kehilangan kamera kesayangannya itu selamanya. “Namun, kamera itu ditemukan dua setengah bulan kemudian oleh nelayan setempat,” tulis Daily Mail (27 Mei 2013). Saat itu, sang nelayan sedang menyelam di dasar laut dengan tombaknya untuk mencari ikan. Ia menemukan sebuah kamera.

Kamera itu ternyata menangkap pemandangan bawah laut yang menakjubkan, mulai saat kamera jatuh, turun menuju karang, dan berhenti di dasar laut. Kamera itu terus merekam dari sudut pandang yang unik di bawah gelombang hingga akhirnya kehabisan baterai. Rekaman ini menampilkan sekilas pemandangan laut yang menarik, dengan tampilan ikan yang menari-nari di karang laut.

Knof telah memposting rincian kehilangan kameranya secara online dengan harapan kameranya dapat ditemukan kembali. Namun, sudah begitu lama tak ada kabar hingga ia nyaris merelakannya. Dia tertegun ketika mengetahui bahwa kamera itu tidak hanya dalam keadaan utuh tetapi juga telah merekam perjalanannya ke bagian bawah karang. Kamera itu kini kembali dalam keadaan “selamat” serta membawa ”oleh-oleh” pemandangan menakjubkan bagi tuannya.

Hilangnya Kamera Ini di Dasar Laut Merekam Alam Bawah Laut

Ms. Plisetskaya, renowned for her fluidity of movement, expressive acting and willful personality, danced on the Bolshoi stage well into her 60s, but her life was shadowed by Stalinism.

Maya Plisetskaya, Ballerina Who Embodied Bolshoi, Dies at 89

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.

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

Since a white police officer, Darren Wilson fatally shot unarmed black teenager, Michael Brown, in a confrontation last August in Ferguson, Mo., there have been many other cases in which the police have shot and killed suspects, some of them unarmed. Mr. Brown's death set off protests throughout the country, pushing law enforcement into the spotlight and sparking a public debate on police tactics. Here is a selection of police shootings that have been reported by news organizations since Mr. Brown's death. In some cases, investigations are continuing.

Photo
 
 
The apartment complex northeast of Atlanta where Anthony Hill, 27, was fatally shot by a DeKalb County police officer. Credit Ben Gray/Atlanta Journal Constitution

Chamblee, Ga.
Fatal Police Shootings: Accounts Since Ferguson

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?”

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