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Membaca judul diatas, tentu banyak orang yang akan mengernyitkan dahi, sebagai tanda ketidakpercayaannya. Bahkan, mungkin demikian pula dengan Anda. Sebab, Nabi Sulaiman AS adalah seorang utusan Allah yang diberikan keistimewaan dengan kemampuannya menaklukkan seluruh makhluk ciptaan Allah, termasuk angin yang tunduk di bawah kekuasaannya atas izin Allah. Bahkan, burung dan jin selalu mematuhi perintah Sulaiman.
 

BACA SELENGKAPNYA DI : CANDI BOROBUDUR PENINGGALAN NABI SULAIMAN ?

 

Dalam bukunya, Matematika Islam 3 (Republika, 2009), KH Fahmi Basya menyebutkan beberapa ciri-ciri Candi Borobudur yang menjadi bukti sebagai peninggalan putra Nabi Daud tersebut. Di antaranya, hutan atau negeri Saba, makna Saba, nama Sulaiman, buah maja yang pahit, dipindahkannya istana Ratu Saba ke wilayah kekuasaan Nabi Sulaiman, bangunan yang tidak terselesaikan oleh para jin, tempat berkumpulnya Ratu Saba, dan lainnya.
 
Dalam Alquran, kisah Nabi Sulaiman dan Ratu Saba disebutkan dalam surah An-Naml [27]: 15-44, Saba [34]: 12-16, al-Anbiya [21]: 78-81, dan lainnya. Tentu saja, banyak yang tidak percaya bila Borobudur merupakan peninggalan Sulaiman ?
Pengantar
Masa lalu memang penuh misteri. Banyak orang meyakini bahwa Candi Borobudur sebagai peninggalan Dinasti Syailendra pada abad 8 masehi. Namun hal itu dibantah oleh KH. Fahmi Basya. Ahli matematika Islam ini meyakini bahwa Borobudur sangat terkait erat dengan sejarah Nabi Sulaiman. Borobudur adalah peninggalan Ratu Saba’ seperti yang diceritakan dalam Al-Quran. Buku ini bukan karya sehari dua hari disusun. Tulisan ini sudah ditulis dengan sangat serius selama puluhan tahun; sejak tahun 1979 hingga 2012. Dalam buku ini penulis menjelaskan dengan sangat detail dan ilmiah bukti-bukti bahwa Borobudur adalah peninggalan Ratu Saba’. Ada 40 bukti eksak yang dijelaskan. Salah satu bukti paling kuat dan belum bisa dibantah adalah ditemukannya surat dari Nabi Sulaiman bertuliskan “Bismilllahirrahmanirrahim” di atas sebuah plat emas di dalam kolam pemandian Ratu Saba’ (Ratu Boko) di daerah Sleman, Jawa Tengah.
Borobudur Peninggalan Islam ?
Menurut literatur yang ada, candi Borobudur adalah sebuah candi Budha. tapi lain halnya menurut pak Fahmi Basya, Candi Borobudur adalah sebuah peninggalan Islam, tepatnya peninggalan Nabi Sulaiman ribuan tahun yang lalu. Tidak main-main, pak Fahmi Basya melakukan penelitian selama 35 tahun dan bukti yang didapat sangat kuat dan juga hasil penelitian tersebut didukung dalil didalam ayat-ayat Al-Quran. Dalam membaca Sejarah Candi Borobudur Versi Islam, Ada baiknya anda juga membaca : Kisah Nabi Sulaiman di Tanah Jawa.
Menurut cerita yang dipaparkan, Candi Borobudur terletak di daerah kekuasaannya Nabi Sulaiman. Nabi Sulaiman adalah nabi yang diberi mukjizat bisa berbicara dengan hewan, juga dapat memerintah jin dengan ijin Allah. Ada seekor burung yang menghilang ketika dicari oleh Sulaiman, burung itu adalah burung Hud-Hud. Sewaktu Sulaiman bertemu dengan burung tersebut, maka burung Hud-Hud melaporkan sebuah alasan yang kuat kenapa ia menghilang dari Sulaiman. Alasan tersebut sekaligus meredam kemarahan Sulaiman atasnya. Sewaktu menghilang Burung Hud-Hud melintasi sebuah negeri, yaitu negeri Saba’ dan para penduduknya menyembah selain Allah, yaitu menyembah Matahari. Juga ada seorang ratu yang menjadi pemimpinnya.
Nabi Sulaiman pun memaklumi alasan tersebut kemudian menyuruh burung Hud-Hud untuk menyampaikan sebuah surat yang ditujukan kepada ratu Saba’, ratu yang menjadi pemimpin negeri Saba’. Surat itu tak lain adalah surat agar Ratu dan penduduk negeri Saba’ bertaubat dan berserah diri kepada Allah. Ratu Saba’ pun kemudian bertabat dan berserah diri. Nabi Sulaiman pun memerintahkan jin untuk memindahkan singgasana ratu Saba ke istananya Sulaiman dalam waktu sekejap sebelum ratu Saba’ datang ke Sulaiman. Singgasana ratu Saba’ adalah singgasana ratu Boko yang ada di Sleman, Yogyakarta, dan dipindahkan ke atas Borobudur di Magelang. terbukti di Istana Ratu Boko ada singgasana yang hilang serta sisa-sisa bangunan tempat berkumpul untuk menyembah matahari. jadi Borobudur itu adalah sebuah bangunan buatan jin atas perintah Nabi Sulaiman. Dari segi relief pun banyak yang menggambarkan cerita Nabi Sula
Sungguh tidak banyak yang mengetahui bahwa simbul-simbul Islam banyak ditemukan di Borobudur. Karena sudah sejak lama, borobudur menjadi klaim hindu/budha. Ekspedisi Melintas Dua Shubuh bersama KH Fahmi Basya sungguh menakjubkan. Hasil penelitian beliau telah menemukan adanya indikator-indikator bahwa kisah Nabi Sulaiman dan ratu Saba ada di Borobudur dan Ratu Boko. Sleman berasal dari Sulaiman. Wonosobo berasal dari Hutan (ratu) Shaba. Lihat pula relief-relief di sekitarBorobudur, disana sarat dengan cerita-cerita Nabi Sulaiman seperti burung Hud-hud, Tabut dan lain-lain. ImanCandi Borobudur
Adanya phenomena angka 19 di Candi Borobudur. Adapun mengenai phenomena angka 19 itu terdapat di dalam Alqur’an berasal dari kalimat Bismillaahirrahmaanirrahiim yang terdiri dari 19 huruf. Kalimat Bismillaahirrahmaanirrahiim ini yang memperkenalkannya kepada kita adalah nabi Sulaiman As. ketika beliau berkirim surat kepada Ratu Saba’
Kop Surat dari Surat nabi Sulaiman As itu adalah kalimat Bismillaahirrahmaanirrahiim .
Isi suratnya adalah: ” Alla ta’luu ‘alaiyya, wa’tuunni muslimiin ” ( Jangan menyombong kepadaku dan datanglah kepadaku dengan berserah diri ). Dan perlu diketahui surat itu sampai sekarang masih ada yaitu di Musium Nasional berupa lempengan emas bertuliskan Bismillah, surat itu awalnya ditemukan dikolam dekat Candi borobudur.Lempengan emas bertuliskan kalimat ‘Bismillah”
Jadi, dapat dikatakan bahwa phenomena 19 itu sudah diketahui oleh Nabi Sulaiman As. Oleh sebab itu di Candi borobudur ada phenomena 19.
Tuntutlah Ilmu ke Negeri  Cina atau Syain ?
 Mari kita bangkit dari tidur panjang, kitalah pewaris negri hebat itu. Tuntutlah ilmu walaupun sampai ke negri Syain, adalah rekomendasi yang disampaikan Nabi Muhammad SAW untuk seluruh umatnya.
Negri hebat itu adalah negri kita, Indonesia.
Sayang …, hanya karena candi Borobudur adalah candi Budha, kita menjadi BUTA, bahwa candi Borobudur adalah hasil karya bangsa kita yang kebetulan beragama Budha (?) (masih perlu pembuktian lagi untuk menyebut para pembangun candi Borobudur beragama Budha).
Saat ini Negri Syain oleh kebanyakan orang termasuk Ulama diartikan sebagai Negri Cina. Benarkah demikian ?.
Berikut argumen yang membantah bahwa negri Syain adalah Negri Cina. Yang lebih tepat negri Syain adalah negri Syailendra di Pulau Jawa, INDONESIA .
 
1. Tinjauan menurut Waktu
Lahirnya Agama Islam semasa dengan berdirinya candi Borobudur, abad 6 akhir atau abad 7 awal. Ketika Nabi Muhammad merekomendasikan Negri Syain bagi umatnya untuk menuntut ilmu pasti didasari pengetahuan yang seumur dengan beliau. Suatu hal yang mustahil bila beliau menyarankan untuk belajar kepada seseorang yang lahir di negri Syain 1500 tahun lagi. Juga mustahil beliau menyarankan untuk belajar kepada seseorang yang lahir di negri Syain 1500 tahun yang lalu. Hal ini menguatkan dugaan bahwa Negri Syain yang dimaksud nabi Muhammad adalah Syailendra di Pulau Jawa, bukanya negri Cina.
 
2. Tinjauan menurut Hubungan Relegius
Borobudur merupakan miniatur Al-Quran, Borobudur berceritera tentang hal yang bersesuaian dengan Al-Quran dengan cara yang berbeda. Al-Quran berceritera tentang suatu hal dengan bahasa syair, sedang Borobudur bercerita tentang hal yang sama dengan bahasa teater dalam bentuk Relief.
 
· Puncak Borobudur dengan satu Stupa besar, disekelilingnya terdapat relief yang menggambarkan ceritera yang bersesuaian dengan Surat ke 1 (satu) di Al-quran.
· Lantai dua dari atas terdapat 8 (delapan) Stupa, disekelilingnya terdapat relief yang menceriterakan suatu hal yang bersesuaian dengan Surat ke 8 (delapan) di Al-Quran
· Lantai tiga dari atas terdapat 16 (enam belas) Stupa, disekelilingnya terdapat relief yang menceriterakan suatu hal yang bersesuaian dengan Surat ke 16 (enam belas) di Al-Quran
· Lantai empat dari atas terdapat 32 (tiga puluh dua) Stupa, disekelilingnya terdapat relief yang menceriterakan suatu hal yang bersesuaian dengan Surat ke 32 (tiga puluh dua) di Al-Quran
· Lantai lima dari atas terdapat 64 (enam puluh empat) Stupa, disekelilingnya terdapat relief yang menceriterakan suatu hal yang bersesuaian dengan Surat ke 64 (enam puh empat) di Al-Quran
· Lantai enam dari atas (lantai dasar) terdapat 72 (tujuh puluh dua) Stupa, disekelilingnya terdapat relief yang menceriterakan suatu hal yang bersesuaian dengan Surat ke 72 (tujuh puluh dua) di Al-Quran
 
Dari kesesuain relief Borobudur dengan Al-Quran diatas, rasanya lebih masuk akal bahwa negri Syain yang dimaksud nabi Muhammad SAW adalah negri Syailendra
 
3. Tinjauan menurut Kondisi Sosial
Kondisi Sosial Negeri Cina saat awal lahirnya Agama Islam sedang dalam keadaan kacau karena perang saudara. Mustahil Nabi Muhammad menyarankan untuk belajar ke negri yang sedang kacau balau oleh perang saudara. Kalau saat ini tahun 2007, ada orang yang menyarankan untuk belajar ke: Irak, Afganistan atau Lebanon, pasti orang itu akan ditertawakan orang sedunia. Pada saat itu Negri Syailendra berada dalam keadaan makmur sejahtera. Tidak salah kalau nabi Muhammad merekomendasikan sebagai negri rujukan menuntut ilmu.
 
4. Tinjauan menurut Kemajuan Budaya
Dari catatan sejarah negri Syailendra memiliki keunggulan budaya dibandingkan dengan negri Cina. Syailendra memiliki peninggalan yang menunjukkan seberapa tinggi “budaya” nya saat itu.
Pembangunan Borobudur memakan waktu lebih dari seratus tahun, diketahui dari umur batu di dasar candi berbeda 104 tahun lebih tua dari batu yang terdapat di puncak candi. Hal ini menunjukkan bahwa negri Syailendra punya tenaga-tenaga ahli yang mengorganisir proyek raksasa baik besarnya bangunan, banyaknya orang yang terlibat pembangunannya dan lama pengerjaannya. Tanpa perencanaan yang luar biasa rapinya, mustahil Borobudur berdiri. Struktur bangunan candi yang demikian besar membutuhkan pengetahuan teknik bangunan yang sangat rumit, bahkan ketelitian lingkaran yang ada di borobudur lebih kecil toleransi ukurnya dibandingkan dengan Theodolit modern.
Belum lagi pengetahuan metalurgi pembuatan keris, pada abad ke 7 negri Syailendra sudah menguasai teknik peleburan Titanium bahan pamor keris. Dan masih banyak bukti ketinggian budaya negri Syailendra yang lain
 
5. Tinjauan menurut Letak Geografis
Negeri Cina dan Jazirah Arab terhubung lewat darat, hanya dengan berkendaraan onta atau kuda saja sudah bisa sampai. Tidak meng- gambarkan kesulitan yang harus ditempuh untuk menuntut ilmu. Negri Syailendra terdapat di Pulau Jawa. Harus mengarung lautan yang luas dan ganas, tanpa kemauan dan perjuangan yang luar biasa berat tidak mungkin sampai. Wallah ‘Alam Bishawab
 

- See more at: http://pbsstainmetro.blogspot.com/2014/02/candi-borobudur-peninggalan-nabi.html

 

Editor by : Oshimura

CANDI BOROBUDUR PENINGGALAN NABI SULAIMAN ?

Keributan kembali terjadi dalam demonstrasi buruh se-Jawa Timur di depan Gedung Neagar Grahadi, Surabaya. Kali ini keributan terjadi antara sesama buruh.

Ribuan massa dari Federasi Serikat Pekerja Metal Indonesia (FSPMI), yang datang sekitar pukul 15.00 WIB, kesulitan menerobos massa aksi dari Konfederasi Serikat Nasional (KSN) dan Gerakan Mahasiswa Nasionalis Indonesia (GMNI) yang dikomandoi Andi Peci.

Massa KSN dan GMNI yang datang sejak pagi tadi enggan memberi jalan masuk kepada massa FSPMI yang datang membawa keranda mayat dan foto Gubernur Jawa Timur, Soekarwo.

Perang mulut antara mereka pun terjadi. Padahal saat itu anggota Komisi IX DPR Rieke Diah Pitaloka tengah berorasi.

"Kita sama-sama buruh, memiliki tujuan yang sama, yaitu untuk kesejahteraan kaum buruh. Tolong saudara Andi Peci, massa diatur, kita sama- sama saudara, jangan ribut karena segelintir orang," teriak salah seorang buruh, Mudjiono, Rabu (1/5).

Namun, situasi yang sudah mulai dingin kembali memanas saat Rieke kembali berorasi. Entah apa pemicunya, tiba-tiba massa buruh yang berada di barisan belakang terlibat adu pukul.

Meski Rieke dan koordinator aksi terus berteriak agar bentrokan dihentikan, massa buruh tetap adu pukul. Sementara polisi yang disiagakan untuk menjaga Gedung Grahadi akhirnya turun tangan untuk melerai aksi tersebut setelah beberapa personel terkena pukulan.

Namun, polisi tak berhasil menghentikan bentrokan yang berlangsung sekitar 20 menit tersebut. Polisi menangkap sejumlah orang yang diduga menjadi provokator.

Saat situasi mulai kondusif, Rieke kembali melanjutkan orasinya. Dalam orasinya, Rieke kembali meneriakkan kemerdekaan para buruh.

"Sistem outsourcing, adalah bentuk penindasan bagi kaum buruh. Maka kita sepakat untuk mendesak pemerintah agar segera membubarkan outsourcing," tegas dia.

 

 

 
   
Sesama Buruh Di Way Day Surabaya Saling Jotos-jotosan

Sewa mobil di Cirebon murah. Murah bukan berarti miskin kualitas. Murah juga merupakan upaya dari pihak penyedia layanan untuk dapat memberikan tarif layanan yang diinginkan dan banyak dibutuhkan oleh konsumen. Demikian juga dengan layanan jasa sewa mobil di Cirebon. Anda juga bisa menemukan banyak layanan jasa sewa mobil murah yang tak kalah berkualitasnya dengan mobil-mobil yang mahal. Jika ada yang murah dan berkualitas, mengapa harus pilih yang mahal?

Tak semua orang saat bepergian telah memiliki anggaran yang besar. Sebagian orang telah memilih bepergian secara kolektif dengan tujuan untuk dapat menghemat anggaran. Salah satu anggaran yang cukup besar dikeluarkan selama dalam perjalanan adalah soal transportasi. Oleh karena itu, jika Anda akan bepergian ke Kota Cirebon secara bersama, sewa mobil di Cirebon dengan harga yang murah merupakan solusi perjalanan yang menyenangkan dan tentunya banyak dicari orang.

Banyak juga orang yang tak mempermasalahkan suasana kendaraan selama perjalanan karena faktor pendanaan yang terbatas. Namun sebenarnya kondisi dana yang terbatas tak menjadi alasan untuk Anda tidak bisa nyaman dalam perjalanan. Ada banyak tawaran sewa mobil di Cirebon yang bisa Anda dapatkan dengan harga yang murah meriah dan tetap nyaman berkualitas.

Sewa mobil di Cirebon ada banyak jenis armadanya, mulai dari armada avanza, elf, xenia dan lain sebagainya, hingga jenis-jenis mobil elit ditawarkan untuk mereka yang memiliki banyak anggaran dalam perjalanan. Sewa mobil di Cirebon akan membuat perjalanan Anda menjadi lebih berkesan di Kota Cirebon. Berbagai objek wisata sejarah, mengunjungi pusat kerajinan batik, mencicipi aneka rasa kuliner yang sulit dilupakan, berbelanja aneka jenis batik berkualitas dan oleh-oleh Kota Cirebon lainnya.

Sewa mobil di Cirebon sekarang juga, dan nikmati perjalanan berkesan bersama orang-orang tercinta. Sesekali untuk bisa menikmati suasana liburan yang lebih berkesan, ada baiknya Anda memilih sewa mobil di Cirebon ketimbang harus membawa mobil sendiri dan letih meyetir sendiri. Tujuan dari liburan adalah rileks dan santai, dengan memilih sewa mobil maka hal itu bisa Anda wujudkan.

 

SEWA MOBIL CIREBON

Kebakaran melanda sebuah rumah di Cimpaeun, Tapos, Depok, Jawa Barat, semalam. Kebakaran ini menyebabkan seorang nenek dan bocah berusia 8 tahun tewas.

"Mereka berdua terjebak dalam rumah tersebut," kata Cucun, petugas pemadam kebakaran Sudin Depok kepada detikcom, Senin (3/5/2013).

Cucun mengatakan, penyebab kebakaran tersebut masih diselidiki oleh petugas kepolisian. "Kalau penyebabnya masih diselidiki," katanya.

Menurut informasi Humas Polda Metro Jaya, kebakaran ini terjadi sekitar pukul 22.30 WIB di kediaman Nurdin. Dua korban yang tewas ialah Sukatna (75) dan Widya, seorang bocah berusia 8 tahun.

KEBAKARAN DI DEPOK MENEWASKAN NENEK DAN BOCAH 8 TAHUN

Jakarta (Komisi Yudisial) -  Komisi Yudisial (KY) melakukan penandatanganan nota kesepahaman (MoU) dengan Ombudsman Republik Indonesia (ORI) dan Lembaga Perlindungan Saksi dan Korban (LPSK) pada Selasa, (28/5) di Auditorium Komisi Yudisial, Jakarta. Penandatanganan MoU ini dilakukan untuk kerja sama di bidang pengawasan hakim, pelayanan publik, serta perlindungan saksi dan korban.

Penandatanganan MoU ini langsung dilakukan oleh Ketua Komisi Yudisial  Eman Suparman dengan Ketua Ombudsman Danang Girindrawardanan dan Ketua LPSK Abdul Haris Semendawai. 

Eman Suparman dalam sambutannya mengatakan penandatanganan MoU dengan Ombudsman dan LPSK  ini bertujuan untuk memperluas dan mengembangkan kerja sama dalam rangka menegakkan kehormatan, keluhuran martabat, serta perilaku hakim demi terwujudnya peradilan bersih. Selain itu, lanjut Eman, MoU ini juga bertujuan untuk meningkatkan pelayanan publik yang prima secara efektif, efisien, serta perlindungan kepada pelapor, saksi dan korban sesuai dengan kewenangan masing-masing lembaga sebagaimana ditentukan dalam peraturan perundang-undangan.

"Ruang lingkup dari kerja sama ini meliputi pertukaran informasi dan data penanganan kasus yang mendukung kewenangan masing-masing lembaga, pendidikan dan pelatihan secara bersama-sama. Tujuannya, untuk meningkatkan sumber daya masing-masing lembaga, sosialisasi kelembagaan tentang, tugas, fungsi, kewenangan, dan kesepahaman ini sebagai upaya meningkatkan pengetahuan dan pemahaman masing- masing lembaga kepada masyarakat," kata Eman.

Sementara itu Ketua LPKS Abdul Haris Semendawai dalam kata pengantarnya menyambut baik atas ditandatanganinya nota kesepahaman dengan KY. Menurut Haris, keterkaitan tugas dan fungsi lembaganya dengan KY sangat erat. Hal ini ditandai dengan penanganan sejumlah permohonan yang masuk pada LPSK selama ini yang diduga terkait dengan mafia peradilan.

"Beberapa kasus tersebut selama ini telah kami koordinasikan dengan KY. Diharapkan dengan adanya MoU penanganan kasus tersebut lebih efektif dan koordinasi semakin intensif," kata Haris. 

Sedangkan Ketua Ombudsman Danang Girindrawardanan dalam kesempatan yang sama menyampaikan, jika penandatanganan MoU ini sangat penting bagi terwujudnya peradilan yang bersih, transparan, dan akuntabel. Pasalnya menurut Danang selama tahun 2012 dari semua aduan 7,26 persen di antaranya adalah terkait dengan lembaga peradilan dan hakim merupakan bagian terbanyak. Bahkan dia menambahkan jika lembaga peradilan itu menempati posisi nomor tiga pengaduan masyarakat kepada Ombudsman.

"Berdasarkan data tahun 2012, sebanyak 7,26 persen pengaduan masyarakat itu terkait kinerja lembaga peradilan. Hakim adalah salah satu komponen di dalamnya dan menjadi bagian terbanyak dari 7.26 persen itu. Lembaga peradian menempati posisi nomor tiga pengaduan masyarakat kepada Ombudsman. Hal ini harus menjadi perhatian serius mengapa masyarakat mengeluhkan itu. Bukan hanya masalah-masalah admnistrasi kepaniteraan, tetapi juga masalah-masalah etik perilaku yang menjadi concern besar Ombudsman. Laporan masyarakat tersebut ditembuskan kepada KY untuk ditindaklanjuti, atau Ombudsman menindaklanjuti sendiri sesuai dengan kewenangannya," tegas Danang. (KY/Kus/Festy)

Sumber:Komisi Yudisial

Editor:Liwon Maulana

Wujudkan Peradilan Bersih, KY Gandeng LPSK dan Ombudsman

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

The live music at the Vice Media party on Friday shook the room. Shane Smith, Vice’s chief executive, was standing near the stage — with a drink in his hand, pants sagging, tattoos showing — watching the rapper-cum-chef Action Bronson make pizzas.

The event was an after-party, a happy-hour bacchanal for the hundreds of guests who had come for Vice’s annual presentation to advertisers and agencies that afternoon, part of the annual frenzy for ad dollars called the Digital Content NewFronts. Mr. Smith had spoken there for all of five minutes before running a slam-bang highlight reel of the company’s shows that had titles like “Weediquette” and “Gaycation.”

In the last year, Vice has secured $500 million in financing and signed deals worth hundreds of millions of dollars with established media companies like HBO that are eager to engage the young viewers Vice attracts. Vice said it was now worth at least $4 billion, with nearly $1 billion in projected revenue for 2015. It is a long way from Vice’s humble start as a free magazine in 1994.

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At the Vice after-party, the rapper Action Bronson, a host of a Vice show, made a pizza. Credit Jesse Dittmar for The New York Times

But even as cash flows freely in Vice’s direction, the company is trying to keep its brash, insurgent image. At the party on Friday, it plied guests with beers and cocktails. Its apparently unrehearsed presentation to advertisers was peppered with expletives. At one point, the director Spike Jonze, a longtime Vice collaborator, asked on stage if Mr. Smith had been drinking.

“My assistant tried to cut me off,” Mr. Smith replied. “I’m on buzz control.”

Now, Vice is on the verge of getting its own cable channel, which would give the company a traditional outlet for its slate of non-news programming. If all goes as planned, A&E Networks, the television group owned by Hearst and Disney, will turn over its History Channel spinoff, H2, to Vice.

The deal’s announcement was expected last week, but not all of A&E’s distribution partners — the cable and satellite TV companies that carry the network’s channels — have signed off on the change, according to a person familiar with the negotiations who spoke on the condition of anonymity because the talks were private.

A cable channel would be a further step in a transformation for Vice, from bad-boy digital upstart to mainstream media company.

Keen for the core audience of young men who come to Vice, media giants like 21st Century Fox, Time Warner and Disney all showed interest in the company last year. Vice ultimately secured $500 million in financing from A&E Networks and Technology Crossover Ventures, a Silicon Valley venture capital firm that has invested in Facebook and Netflix.

Those investments valued Vice at more than $2.5 billion. (In 2013, Fox bought a 5 percent stake for $70 million.)

Then in March, HBO announced that it had signed a multiyear deal to broadcast a daily half-hour Vice newscast. Vice already produces a weekly newsmagazine show, called “Vice,” for the network. That show will extend its run through 2018, with an increase to 35 episodes a year, from 14.

Michael Lombardo, HBO’s president for programming, said when the deal was announced that it was “certainly one of our biggest investments with hours on the air.”

Vice, based in Brooklyn, also recently signed a multiyear $100 million deal with Rogers Communications, a Canadian media conglomerate, to produce original content for TV, smartphone and desktop viewers.

Vice’s finances are private, but according to an internal document reviewed by The New York Times and verified by a person familiar with the company’s financials, the company is on track to make about $915 million in revenue this year.

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Vice showed a highlight reel of its TV series at the NewFronts last week in New York. Credit Jesse Dittmar for The New York Times

It brought in $545 million in a strong first quarter, which included portions of the new HBO deal and the Rogers deal, according to the document. More of its revenue now comes from these types of content partnerships, compared with the branded content deals that made up much of its revenue a year ago, the company said.

Mr. Smith said the company was worth at least $4 billion. If the valuation gets much higher, he said he would consider taking the company public.

“I don’t care about money; we have plenty of money,” Mr. Smith, who is Vice’s biggest shareholder, said in an interview after the presentation on Friday. “I care about strategic deals.”

In the United States, Vice Media had 35.2 million unique visitors across its sites in March, according to comScore.

The third season of Vice’s weekly HBO show has averaged 1.8 million viewers per episode, including reruns, through April 12, according to Brad Adgate, the director of research at Horizon Media. (Vice said the show attracted three million weekly viewers when repeat broadcasts, online and on-demand viewings were included.)

For years, Mr. Smith has criticized traditional TV, calling it slow and unable to draw younger viewers. But if all the deals Vice has struck are to work out, Mr. Smith may have to play more by the rules of traditional media. James Murdoch, Rupert Murdoch’s son and a member of Vice’s board, was at the company’s presentation on Friday, as were other top media executives.

“They know they need people like me to help them, but they can’t get out of their own way,” Mr. Smith said in the interview Friday. “My only real frustration is we’re used to being incredibly dynamic, and they’re not incredibly dynamic.”

With its own television channel in the United States, Vice would have something it has long coveted even as traditional media companies are looking beyond TV. Last year, Vice’s deal with Time Warner failed in part because the two companies could not agree on how much control Vice would have over a 24-hour television network.

Vice said it intended to fill its new channel with non-news programming. The company plans to have sports shows, fashion shows, food shows and the “Gaycation” travel show with the actress Ellen Page. It is also in talks with Kanye West about a show.

It remains to be seen whether Vice’s audience will watch a traditional cable channel. Still, Vice has effectively presold all of the ad spots to two of the biggest advertising agencies for the first three years, Mr. Smith said.

In the meantime, Mr. Smith is enjoying Vice’s newfound role as a potential savior of traditional media companies.

“I’m a C.E.O. of a content company,” Mr. Smith said before he caught a flight to Las Vegas for the boxing match on Saturday between Floyd Mayweather Jr. and Manny Pacquiao. “If it stops being fun, then why are you doing it?”

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

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

ay 4, 2015 ‘Game of Thrones’ Q&A: Keisha Castle-Hughes on the Tao of the Sand Snakes

GREENWICH, Conn. — Mago is in the bedroom. You can go in.

The big man lies on a hospital bed with his bare feet scraping its bottom rail. His head is propped on a scarlet pillow, the left temple dented, the right side paralyzed. His dark hair is kept just long enough to conceal the scars.

The occasional sounds he makes are understood only by his wife, but he still has that punctuating left hand. In slow motion, the fingers curl and close. A thumbs-up greeting.

Hello, Mago.

This is Magomed Abdusalamov, 34, also known as the Russian Tyson, also known as Mago. He is a former heavyweight boxer who scored four knockouts and 14 technical knockouts in his first 18 professional fights. He preferred to stand between rounds. Sitting conveyed weakness.

But Mago lost his 19th fight, his big chance, at the packed Theater at Madison Square Garden in November 2013. His 19th decision, and his last.

Now here he is, in a small bedroom in a working-class neighborhood in Greenwich, in a modest house his family rents cheap from a devoted friend. The air-pressure machine for his mattress hums like an expectant crowd.

 

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Mike Perez, left, and Magomed Abdusalamov during the fight in which Abdusalamov was injured. Credit Joe Camporeale/USA Today Sports, via Reuters

 

Today is like any other day, except for those days when he is hurried in crisis to the hospital. Every three hours during the night, his slight wife, Bakanay, 28, has risen to turn his 6-foot-3 body — 210 pounds of dead weight. It has to be done. Infections of the gaping bedsore above his tailbone have nearly killed him.

Then, with the help of a young caretaker, Baka has gotten two of their daughters off to elementary school and settled down the toddler. Yes, Mago and Baka are blessed with all girls, but they had also hoped for a son someday.

They feed Mago as they clean him; it’s easier that way. For breakfast, which comes with a side of crushed antiseizure pills, he likes oatmeal with a squirt of Hershey’s chocolate syrup. But even oatmeal must be puréed and fed to him by spoon.

He opens his mouth to indicate more, the way a baby does. But his paralysis has made everything a choking hazard. His water needs a stirring of powdered food thickener, and still he chokes — eh-eh-eh — as he tries to cough up what will not go down.

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Mago used to drink only water. No alcohol. Not even soda. A sip of juice would be as far as he dared. Now even water betrays him.

With the caretaker’s help, Baka uses a washcloth and soap to clean his body and shampoo his hair. How handsome still, she has thought. Sometimes, in the night, she leaves the bedroom to watch old videos, just to hear again his voice in the fullness of life. She cries, wipes her eyes and returns, feigning happiness. Mago must never see her sad.

 

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 Abdusalamov's hand being massaged. Credit Ángel Franco/The New York Times

 

When Baka finishes, Mago is cleanshaven and fresh down to his trimmed and filed toenails. “I want him to look good,” she says.

Theirs was an arranged Muslim marriage in Makhachkala, in the Russian republic of Dagestan. He was 23, she was 18 and their future hinged on boxing. Sometimes they would shadowbox in love, her David to his Goliath. You are so strong, he would tell her.

His father once told him he could either be a bandit or an athlete, but if he chose banditry, “I will kill you.” This paternal advice, Mago later told The Ventura County Reporter, “made it a very easy decision for me.”

Mago won against mediocre competition, in Moscow and Hollywood, Fla., in Las Vegas and Johnstown, Pa. He was knocked down only once, and even then, it surprised more than hurt. He scored a technical knockout in the next round.

It all led up to this: the undercard at the Garden, Mike Perez vs. Magomed Abdusalamov, 10 rounds, on HBO. A win, he believed, would improve his chances of taking on the heavyweight champion Wladimir Klitschko, who sat in the crowd of 4,600 with his fiancée, the actress Hayden Panettiere, watching.

Wearing black-and-red trunks and a green mouth guard, Mago went to work. But in the first round, a hard forearm to his left cheek rocked him. At the bell, he returned to his corner, and this time, he sat down. “I think it’s broken,” he repeatedly said in Russian.

 

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Bakanay Abdusalamova, Abdusalamov's wife, and her injured husband and a masseur in the background. Credit Ángel Franco/The New York Times

 

Maybe at that point, somebody — the referee, the ringside doctors, his handlers — should have stopped the fight, under a guiding principle: better one punch too early than one punch too late. But the bloody trade of blows continued into the seventh, eighth, ninth, a hand and orbital bone broken, his face transforming.

Meanwhile, in the family’s apartment in Miami, Baka forced herself to watch the broadcast. She could see it in his swollen eyes. Something was off.

After the final round, Perez raised his tattooed arms in victory, and Mago wandered off in a fog. He had taken 312 punches in about 40 minutes, for a purse of $40,000.

 

 

In the locker room, doctors sutured a cut above Mago’s left eye and tested his cognitive abilities. He did not do well. The ambulance that waits in expectation at every fight was not summoned by boxing officials.

Blood was pooling in Mago’s cranial cavity as he left the Garden. He vomited on the pavement while his handlers flagged a taxi to St. Luke’s-Roosevelt Hospital. There, doctors induced a coma and removed part of his skull to drain fluids and ease the swelling.

Then came the stroke.

 

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A championship belt belonging to Abdusalamov and a card from one of his daughters. Credit Ángel Franco/The New York Times

 

It is lunchtime now, and the aroma of puréed beef and potatoes lingers. So do the questions.

How will Mago and Baka pay the $2 million in medical bills they owe? What if their friend can no longer offer them this home? Will they win their lawsuits against the five ringside doctors, the referee, and a New York State boxing inspector? What about Mago’s future care?

Most of all: Is this it?

A napkin rests on Mago’s chest. As another spoonful of mush approaches, he opens his mouth, half-swallows, chokes, and coughs until it clears. Eh-eh-eh. Sometimes he turns bluish, but Baka never shows fear. Always happy for Mago.

Some days he is wheeled out for physical therapy or speech therapy. Today, two massage therapists come to knead his half-limp body like a pair of skilled corner men.

Soon, Mago will doze. Then his three daughters, ages 2, 6 and 9, will descend upon him to talk of their day. Not long ago, the oldest lugged his championship belt to school for a proud show-and-tell moment. Her classmates were amazed at the weight of it.

Then, tonight, there will be more puréed food and pulverized medication, more coughing, and more tender care from his wife, before sleep comes.

Goodbye, Mago.

He half-smiles, raises his one good hand, and forms a fist.

Meet Mago, Former Heavyweight

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

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

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

Hired in 1968, a year before their first season, Mr. Fanning spent 25 years with the team, managing them to their only playoff appearance in Canada.

Jim Fanning, 87, Dies; Lifted Baseball in Canada With Expos

Imagine an elite professional services firm with a high-performing, workaholic culture. Everyone is expected to turn on a dime to serve a client, travel at a moment’s notice, and be available pretty much every evening and weekend. It can make for a grueling work life, but at the highest levels of accounting, law, investment banking and consulting firms, it is just the way things are.

Except for one dirty little secret: Some of the people ostensibly turning in those 80- or 90-hour workweeks, particularly men, may just be faking it.

Many of them were, at least, at one elite consulting firm studied by Erin Reid, a professor at Boston University’s Questrom School of Business. It’s impossible to know if what she learned at that unidentified consulting firm applies across the world of work more broadly. But her research, published in the academic journal Organization Science, offers a way to understand how the professional world differs between men and women, and some of the ways a hard-charging culture that emphasizes long hours above all can make some companies worse off.

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Credit Peter Arkle

Ms. Reid interviewed more than 100 people in the American offices of a global consulting firm and had access to performance reviews and internal human resources documents. At the firm there was a strong culture around long hours and responding to clients promptly.

“When the client needs me to be somewhere, I just have to be there,” said one of the consultants Ms. Reid interviewed. “And if you can’t be there, it’s probably because you’ve got another client meeting at the same time. You know it’s tough to say I can’t be there because my son had a Cub Scout meeting.”

Some people fully embraced this culture and put in the long hours, and they tended to be top performers. Others openly pushed back against it, insisting upon lighter and more flexible work hours, or less travel; they were punished in their performance reviews.

The third group is most interesting. Some 31 percent of the men and 11 percent of the women whose records Ms. Reid examined managed to achieve the benefits of a more moderate work schedule without explicitly asking for it.

They made an effort to line up clients who were local, reducing the need for travel. When they skipped work to spend time with their children or spouse, they didn’t call attention to it. One team on which several members had small children agreed among themselves to cover for one another so that everyone could have more flexible hours.

A male junior manager described working to have repeat consulting engagements with a company near enough to his home that he could take care of it with day trips. “I try to head out by 5, get home at 5:30, have dinner, play with my daughter,” he said, adding that he generally kept weekend work down to two hours of catching up on email.

Despite the limited hours, he said: “I know what clients are expecting. So I deliver above that.” He received a high performance review and a promotion.

What is fascinating about the firm Ms. Reid studied is that these people, who in her terminology were “passing” as workaholics, received performance reviews that were as strong as their hyper-ambitious colleagues. For people who were good at faking it, there was no real damage done by their lighter workloads.

It calls to mind the episode of “Seinfeld” in which George Costanza leaves his car in the parking lot at Yankee Stadium, where he works, and gets a promotion because his boss sees the car and thinks he is getting to work earlier and staying later than anyone else. (The strategy goes awry for him, and is not recommended for any aspiring partners in a consulting firm.)

A second finding is that women, particularly those with young children, were much more likely to request greater flexibility through more formal means, such as returning from maternity leave with an explicitly reduced schedule. Men who requested a paternity leave seemed to be punished come review time, and so may have felt more need to take time to spend with their families through those unofficial methods.

The result of this is easy to see: Those specifically requesting a lighter workload, who were disproportionately women, suffered in their performance reviews; those who took a lighter workload more discreetly didn’t suffer. The maxim of “ask forgiveness, not permission” seemed to apply.

It would be dangerous to extrapolate too much from a study at one firm, but Ms. Reid said in an interview that since publishing a summary of her research in Harvard Business Review she has heard from people in a variety of industries describing the same dynamic.

High-octane professional service firms are that way for a reason, and no one would doubt that insane hours and lots of travel can be necessary if you’re a lawyer on the verge of a big trial, an accountant right before tax day or an investment banker advising on a huge merger.

But the fact that the consultants who quietly lightened their workload did just as well in their performance reviews as those who were truly working 80 or more hours a week suggests that in normal times, heavy workloads may be more about signaling devotion to a firm than really being more productive. The person working 80 hours isn’t necessarily serving clients any better than the person working 50.

In other words, maybe the real problem isn’t men faking greater devotion to their jobs. Maybe it’s that too many companies reward the wrong things, favoring the illusion of extraordinary effort over actual productivity.

How Some Men Fake an 80-Hour Workweek, and Why It Matters

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

Richard Suzman, 72, Dies; Researcher Influenced Global Surveys on Aging

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

From sea to shining sea, or at least from one side of the Hudson to the other, politicians you have barely heard of are being accused of wrongdoing. There were so many court proceedings involving public officials on Monday that it was hard to keep up.

In Newark, two underlings of Gov. Chris Christie were arraigned on charges that they were in on the truly deranged plot to block traffic leading onto the George Washington Bridge.

Ten miles away, in Lower Manhattan, Dean G. Skelos, the leader of the New York State Senate, and his son, Adam B. Skelos, were arrested by the Federal Bureau of Investigation on accusations of far more conventional political larceny, involving a job with a sewer company for the son and commissions on title insurance and bond work.

The younger man managed to receive a 150 percent pay increase from the sewer company even though, as he said on tape, he “literally knew nothing about water or, you know, any of that stuff,” according to a criminal complaint the United States attorney’s office filed.

The success of Adam Skelos, 32, was attributed by prosecutors to his father’s influence as the leader of the Senate and as a potentate among state Republicans. The indictment can also be read as one of those unfailingly sad tales of a father who cannot stop indulging a grown son. The senator himself is not alleged to have profited from the schemes, except by being relieved of the burden of underwriting Adam.

The bridge traffic caper is its own species of crazy; what distinguishes the charges against the two Skeloses is the apparent absence of a survival instinct. It is one thing not to know anything about water or that stuff. More remarkable, if true, is the fact that the sewer machinations continued even after the former New York Assembly speaker, Sheldon Silver, was charged in January with taking bribes disguised as fees.

It was by then common gossip in political and news media circles that Senator Skelos, a Republican, the counterpart in the Senate to Mr. Silver, a Democrat, in the Assembly, could be next in line for the criminal dock. “Stay tuned,” the United States attorney, Preet Bharara said, leaving not much to the imagination.

Even though the cat had been unmistakably belled, Skelos father and son continued to talk about how to advance the interests of the sewer company, though the son did begin to use a burner cellphone, the kind people pay for in cash, with no traceable contracts.

That was indeed prudent, as prosecutors had been wiretapping the cellphones of both men. But it would seem that the burner was of limited value, because by then the prosecutors had managed to secure the help of a business executive who agreed to record calls with the Skeloses. It would further seem that the business executive was more attentive to the perils of pending investigations than the politician.

Through the end of the New York State budget negotiations in March, the hopes of the younger Skelos rested on his father’s ability to devise legislation that would benefit the sewer company. That did not pan out. But Senator Skelos did boast that he had haggled with Gov. Andrew M. Cuomo, a Democrat, in a successful effort to raise a $150 million allocation for Long Island to $550 million, for what the budget called “transformative economic development projects.” It included money for the kind of work done by the sewer company.

The lawyer for Adam Skelos said he was not guilty and would win in court. Senator Skelos issued a ringing declaration that he was unequivocally innocent.

THIS was also the approach taken in New Jersey by Bill Baroni, a man of great presence and eloquence who stopped outside the federal courthouse to note that he had taken risks as a Republican by bucking his party to support paid family leave, medical marijuana and marriage equality. “I would never risk my career, my job, my reputation for something like this,” Mr. Baroni said. “I am an innocent man.”

The lawyer for his co-defendant, Bridget Anne Kelly, the former deputy chief of staff to Mr. Christie, a Republican, said that she would strongly rebut the charges.

Perhaps they had nothing to do with the lane closings. But neither Mr. Baroni nor Ms. Kelly addressed the question of why they did not return repeated calls from the mayor of Fort Lee, N.J., begging them to stop the traffic tie-ups, over three days.

That silence was a low moment. But perhaps New York hit bottom faster. Senator Skelos, the prosecutors charged, arranged to meet Long Island politicians at the wake of Wenjian Liu, a New York City police officer shot dead in December, to press for payments to the company employing his son.

Sometimes it seems as though for some people, the only thing to be ashamed of is shame itself.

Finding Scandal in New York and New Jersey, but No Shame

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

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

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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