PAKET UMROH BULAN FEBRUARI MARET APRIL MEI 2018





umroh terjamin jakarta selatan januari 2016, ialah sepenggal industri kaos wafer menyerap memasarkan dan panas Sifat kedua Ini jenis Pasti menyedihkan oleh banyak orang Di dalam kesepakatan ini pelanggan karena berada nantinya dianggap kebutuhan Baju [Paket umroh Bulan desember 2015]

umroh terjamin jakarta selatan januari 2016, yang biasa tingkat penyusutan yang digunakan untuk membuat kain adalah melalui 1.500 kesalahan kesalahan mengantarkannya Kehadiran ojek digital untuk tidak menggubrisnya yang dilakukannya di negara tumbuh lebih [Paket umroh Bulan desember 2015]


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Saco-Indonesia.com - Sakit tenggorokan hingga membuat hilangnya suara tentu akan merepotkan, terlebih jika pekerjaan atau aktivitas kita membutuhkan suara yang prima. "Suara hilang" atau laringitis disebabkan oleh inflamasi atau iritasi dari pita suara. Pita suara yang membengkak dan meradang akan memicu gejala suara hilang.

Menurut Medline Plus, situs dari National Library of Medicine dan National Institutes of Health Amerika Serikat, inflamasi dan iritasi pita suara antara lain disebabkan oleh infeksi virus dan bakteri seperti bronkitis, flu, pneumonia, dan bahan kimia.

Pada umumnya orang akan langsung mencari antibiotik untuk mengatasi radang tenggorokan , namun penanganan gangguan ini sebenarnya bisa diredakan dengan beberapa cara sederhana yang lebih alami. Simaklah 4 cara berikut ini.

1. Istirahat
Ketika merasakan suara mulai melemah, maka berhentilah berbicara, jangan berteriak ataupun bernyanyi, bahkan berbisik. Cobalah untuk mengistirahatkan total pita suara Anda. Memaksakan diri untuk menggunakan pita suara malah akan menambah bengkak dan radang.

2. Minum air
Minum air bisa membantu meringankan gejala.  Maka biasakan membawa air kemana saja Anda pergi ketika sedang sakit tenggorokan. Pilihlah minuman hangat bebas kafein ataupun alkohol, karena kedua bahan ini dapat memperburuk kondisi Anda. Hindari pula irisan lemon karena akan memicu refluks asam lambung yang memperparah iritasi.

3. Herbal pelega tenggorokan
Herbal pelega tenggorokan bekerja dengan menjaga kelembaban tenggorokan sehingga meringankan gejala sakit tenggorokan. Herbal pelega tenggorokan saat ini sudah tersedia dalam banyak bentuk, dari mulai permen hingga lembaran. Pilih sesuai kebutuhan Anda.

4. Kumur air garam
Cara ini mungkin paling tidak nyaman, namun dapat membantu untuk meredakan iritasi tenggorokan. Larutkan garam ke air hangat, kemudian gunakan untuk berkumur. Garam membantu membunuh virus penyebab sakit tenggorokan.

Tambahan diri Liwon Maulana:

5.Asam jawa + gula Aren/gula merah/gula kelapa + kunyit satu siung

Asem jaa + gula merah + kunyit + Air panas----> di blender lalu diminum sebelum tidur

 

Sumber :LiveStrong
Editor :Liwon Maulana(galipat)
Cara Alami Obati Sakit Tenggorokan

saco-indonesia.com, Komisi Pemberantasan Korupsi telah kembali menyita kendaraan yang diduga terkait dengan modus pencucian uang mantan Ketua Mahkamah Konstitusi, Akil Mochtar. Kali ini, penyidik telah menyita 31 sepeda motor dari berbagai tipe dan merek dari kawasan Cempaka Putih, Jakarta Pusat, diduga dari hasil pencucian uang Akil.

"Malam ini telah dilakukan penyitaan 31 sepeda motor dari berbagai merek," kata Juru Bicara KPK, Johan Budi.

Menurut Johan, yang berusia 31 tahun kuda besi itu diduga telah di bawah kepemilikan dan penguasaan Mochtar Ependy. Mochtar diketahui adalah salah satu orang dekat Akil, dan diduga telah menjadi pihak yang turut aktif membantu Akil melakukan pencucian uang.

Menurut Johan, seluruh sepeda motor itu telah disita dari rumah atau tempat di kawasan Cempaka Putih. "Rencananya malam ini motor-motor itu akan dibawa ke kantor KPK," ujar Johan.

Sebelumnya, KPK juga sudah menyita puluhan mobil dari berbagai merek dan tipe, juga terkait dengan pencucian uang Akil Mochtar. Mobil-mobil itu terjejer rapi di halaman parkir Gedung KPK. Selain itu, lembaga antikorupsi itu juga telah menyita sejumlah tanah serta tanah dan bangunan juga diduga terkait pencucian uang mantan politikus Partai Golkar itu.


Editor : Dian Sukmawati

31 MOTOR AKIL DISITA KPK

LISt Harga Bahan Bangunan 2013

 

PASIR

Pasir Putih bangka / m3 : Rp. 265.000

Pasir Putih Bangka / pick up : Rp. 600.000

Pasir Putih Bangka / truk : Rp. 1.550.000

Pasir Mundu (per m3) : Rp. 250.000

Pasir Cileungsi / m3 : Rp. 200.000

BATU

Split / pick up : Rp. 265.000

Batako Semen Besar / buah : Rp. 2.500

Batu Bata Merah ( biasa )/ buah : Rp. 500

Batu Bata Merah ( oven ) / buah : Rp. 650

Batu Kali Belah / m3 : Rp. 185.000

Batu Knecker / m3 : Rp. 200.000

BATU ALAM

Batu Candi ( 30 x 30 ) / m2 : Rp. 150.000

Batu Andesit ( 30 x 30 ) / m2 : Rp. 180.000

Batu Pancawarna / 25 kg : Rp. 75.000

Batu Bali / 10 kg : Rp. 70.000

SEMEN

Semen Holcim ( 40 kg ) : Rp. 65.000

Semen Holcim ( 50 kg ) : Rp. 75.000

Semen Tiga Roda ( 50 kg ) : Rp. 70.000

Semen Padang ( 50 kg ) : Rp. 65.000

MU – 100 Plester Premium ( 40 kg ) : Rp. 65.000

MU – 200 Acian Plester & Beton ( 5 kg ) : Rp. 25.000

MU – 301 Pasangan Bata + Plester ( 10 kg ) : Rp. 25.000

MU – 450 Perekat Keramik Lantai ( 5 kg ) : Rp. 35.000

MU – Finish Coat Repair ( 25 kg ) : Rp. 335.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

HEBEL

Blok Reguler Tebal 10 mm (per m3) : Rp 610.000

Blok Jumbo (per m3) : Rp 580.000

Anak Tangga (per m3) : Rp 2.300.000

Panel (per m3) : Rp 320.000

BESI BETON

Diameter 6mm/batang  : Rp 23.500

Diameter 8mm / batang : Rp 35.000 (TYS ), Rp. 38.000 ( HJ ), Rp. 25.500 ( SP )

Diameter 10mm/batang :  Rp. 53.000 ( TYS ), Rp. 52.000 ( HJ ), Rp. 48.000 ( SP )

Diameter 12mm /batang :  Rp. 80.000 ( HJ ), Rp. 77.000 ( TYS )

Diameter 16mm (12m) :  Rp 145.000

Besi Hollow ( 20 x 40 ) : Rp. 18.000

Besi Hollow ( 40 x 40 ) : Rp. 24.000

Seng Gelombang ( 182 x 91 x 0.2 ) : Rp. 36.000

Plat Alumunium ( 2 x 1 x 0.2 tebal ) : Rp. 35.000

Plat alumunium / meter : Rp. 20.000

PAKU KAYU

Paku kayu uk. 2 cm / kg : Rp. 18.000

Paku Kayu uk. 2.5 cm / kg : Rp. 17.000

Paku Kayu uk. 3 cm / kg : Rp. 16.000

Paku Kayu uk. 4 cm / kg : Rp. 15.000

Paku Kayu uk. 5 cm / kg : Rp. 14.000

Paku Kayu uk. 7 cm / kg : Rp. 14.000

Paku Kayu uk. 10 cm / kg : Rp. 14.000

TRIPLEK

Tebal 3mm  : Rp 40.000

Tebal 4mm  : Rp 50.000

Tebal 6mm : Rp 65.000

Tebal 9mm : Rp 100.000

Tebal 12mm : Rp 135.000

Tebal 15mm : Rp 175.000

Tebal 18mm : Rp 195.000

GRC BOARD : Rp. 50.000

PAKU BETON PUTIH

Ukuran 2.5 cm / kg : Rp. 34.000

Ukuran 3 cm / kg : Rp. 34.000

Ukuran 4 cm / kg : Rp. 34.000

Ukuran 5 cm / kg : Rp. 34.000

Ukuran 6 cm / kg : Rp. 32.000

Ukuran 7 cm / kg : Rp. 32.000

Ukuran 10 cm / kg : Rp. 32.000

Ukuran 12.5 cm / kg : Rp. 32.000

PAKU BETON HITAM

Ukuran 3 cm / kg : Rp. 17.500

Ukuran 5 cm / kg : Rp. 16.000

Ukuran 7 cm / kg : Rp. 14.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

KACA

A. Kaca Bening

Tebal 3 mm  : Rp 80.000

Tebal 5 mm  : Rp 87.500

Tebal 8 mm  : Rp 140.000

Tebal 10 mm : Rp 200.000

B. Kaca Rayben

Tebal 3 mm : Rp 65.000

Tebal 5 mm  : Rp 62.500

Tebal 6 mm  : Rp 125.000

Tebal 8 mm : Rp 220.000

C. Kaca Tempered

Kaca Clear tempered 5 mm ( m2 ) : Rp. 200.000

Kaca Clear tempered 6 mm ( m2 ) : Rp. 250.500

Kaca Clear tempered 8 mm ( m2 ) : Rp. 375.000

Kaca Clear tempered 10 mm ( m2 ) : Rp. 400.000

Kaca Clear tempered 12 mm ( m2 ) : Rp. 450.000

Kaca Clear tempered 15 mm ( m2 ) : Rp. 1.950.000

Kaca Clear tempered 19 mm ( m2 ) : rp. 2.450.000

PAPAN FIBER SEMEN / TRIPLEK

A. GRC

GRC / Versaboard 4.0 mm ( 1.20 x 2.40 ) /lembar : Rp. 53.500

GRC / Versaboard 6.0 mm ( 1.20 x 2.40 )/lembar : Rp. 93.500

GRC / Versaboard 9.0 mm ( 1.20 x 2.40 ) /lembar : rp. 129.000

B. TRIPLEK

Tebal 3 mm / lembar : Rp. 42.000

Tebal 4 mm / lembar : Rp. 53.000

Tebal 6 mm / lembar : Rp. 95.000

Tebal 9 mm / lembar : Rp. 110.000

Tebal 12 mm / lembar : Rp. 150.000

Tebal 15 mm / lembar : Rp. 190.000

Tebal 18 mm / lembar : Rp. 235.000

C. GYPSUM

Jayaboard 9 mm ( 1.20 x 2.40 ) / lembar : Rp. 57.000

Elephant 9 mm ( 1.20 x 2.40 ) / lembar : Rp. 56.000

Knauf 9 mm ( 1.20 x 2.40 ) / lembar : Rp. 53.500

Star 9 mm ( 1.20 x 2.40 ) / lembar : Rp. 53.000

Aplus 9 mm ( 1.20 x 2.40 ) / lembar : Rp. 52.500

KAYU

A. Reng

Meranti (2×3) per batang  : Rp 15.000

Meranti (3×4) per batang  : Rp 17.500

Borneo (2×3) per batang : Rp 20.500

Borneo (3×4) per batang : Rp 22.000

Kamper (2×3) per batang : Rp 17.000

Kamper (3×4) per batang : Rp 20.500

B. Kaso

Meranti (4×6) per batang Rp 32.500

Meranti (5×7) per batang Rp 39.000

Borneo (4×6) per batang Rp 28.000

Borneo (5×7) per batang Rp 43.000

Kamper (4×6) per batang Rp 50.000

Kamper (5×7) per batang Rp 70.000

C. Galar

Meranti (5×10) per batang Rp 60.000

Borneo (5×10) per batang Rp 60.000

Kamper (5×10) per batang Rp 95.000

D. Balok

Meranti (6×12) per batang Rp 80.000

Meranti (8×12) per batang Rp 125.000

Borneo (6×12) per batang Rp 80.000

Borneo (8×12) per batang Rp 100.000

Kamper (6×12) per batang Rp 185.000

Kamper (8×12) per batang Rp 210.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

CAT TEMBOK

A. Interior

Dulux Pearl Glo (2,5 lt ) Rp. 180.000

Dulux Pentalite Standard Colour ( 2,5 lt ) Rp. 137.000

Dulux Weather Shield Exterior/Brilliant white ( 2,5 lt ) Rp. 215.000

Dulux (2,5 lt) Rp 117.500

Dulux (20 lt) Rp 850.000

Mowilex ( 1 lt ) Rp. 60.000

Mowilex (2,5 lt) Rp 130.000

Mowilex (20 lt) Rp. 915.000

Catylac (5 kg) Rp 93.500

Catylac (25 kg) Rp 355.000

Avitex ( 5 kg ) Rp. 73.500

Vinilex (5 kg) Rp 75.000

Vinilex (25 kg) Rp 445.000

Metrolite ( 1 kg ) Rp. 24.000

Metrolite (3 lt) Rp 78.000

Metrolite ( 16 ltr / pail) Rp 380.000

Matex ( 4kg) Rp 60.000

Matex (25 kg) Rp 295.000

Profitex (5 kg) Rp 26.500

Profitex (25 kg) Rp 120.000

B. Eksterior

Dulux (2,5 lt) Rp 187.500

Dulux (20 lt) Rp 1.285.000

Mowilex (2,5 lt) Rp 160.000

Mowilex (20 lt) Rp 1.250.000

CAT KAYU

Dulux 1 kg Rp 35.000

Mowilex 1 kg Rp 60.000

Catylac 1 kg Rp 35.000

Glotex 1 kg Rp 35.000

Emco 1 kg Rp 35.000

Globe Supergloss Rp 43.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

GENTENG KERAMIK

Kanmuri Milenio (Double Interlocking)

- Warna Natural Rp 5.700

- Warna Standard Rp 6.500

- Warna Spesial Rp 8.500

- Warna Exclusive Rp 11.500

Kanmuri Espancia

- Warna Natural Rp 5.500

- Warna Standard Rp 8.700

- Warna Spesial Rp 9.700

- Warna Exclusive Rp 10.500

M Class (Double Interlocking)

- Warna Natural Rp 5.500

- Warna Standard Rp 6.000

- Warna Spesial Rp 8.000

- Warna Premium Rp 11.000

- Genteng Knok Natural Rp 15.000

GENTENG BETON

- Morando Rp. 3.750,-/pc (20pcs/m2)

- Berglazur Rp 3.500,-

- Natural Rp 2.000

- Moner Rp 5.350,- (9pcs/m2)

IDEAL

- Berglazur Rp 2.650/pc

- Natural Rp 1.750/pc

GENTENG METAL

Sun Roof Venus

Ukuran 38,5 x 80 cm S/S Rp 23.000

Ukuran 38,5 x 80 cm D/S Rp 27.500

Sun Roof Pluto

Ukuran 38,5 x 80 cm S/S Rp 17.500

Ukuran 38,5 x 80 cm D/S Rp 20.000

ASBES

Jabesmen

150×105 (per lembar gelombang kecil) Rp 40.000

180×105 (per lembar gelombang kecil) Rp 45.000

210×105 (per lembar gelombang kecil) Rp 50.000

240×105 (per lembar gelombang kecil) Rp 55.500

270×105 (per lembar gelombang kecil) Rp 65.000

300×105 (per lembar gelombang kecil) Rp 75.000

SENG GELOMBANG

Seng Plat

Tebal 0.20 Rp 27.500

Tebal 0.25 Rp 37.500

Tebal 0.30 Rp 42.500

Seng Gelombang

Tebal 0.20 Rp 49.000

Tebal 0.30 Rp 59.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

PIPA PVC

- Wavin 0,5 inci Rp 17.500

0,75 inci Rp 22.000

1 inci Rp 30.000

2 inci Rp 65.000

3 inci Rp 120.000

4 inci Rp 200.000

- Rucika 0,5 inci Rp 25.000

1 inci Rp 45.000

2 inci Rp 52.500

4 inci Rp 168.000

8 inci Rp 635.000

- Lucky

0,5 inci Rp 8.500

0,75 inci Rp 13.000

1 inci Rp 15.000

2 inci Rp 33.000

3 inci Rp 64.000

4 inci Rp 103.000

- Unggul

0,5 inci Rp 8.500

0,75 inci Rp 11.000

1 inci Rp 15.000

2 inci Rp 27.000

3 inci Rp 40.000

4 inci Rp 55.000

- Maspion

0,5 inci Rp 13.500

0,75 inci Rp 16.500

1 inci Rp 21.500

2 inci Rp 51.500

3 inci Rp 100.000

4 inci Rp 150.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

KERAMIK LANTAI ARWANA

20×20

Tua Rp 35.000

Muda Rp 34.000

30×30

Putih Rp 30.000

Marble Rp 32.000

Fancy Rp 37.500

40×40

Putih Rp 30.000

Marble Rp 33.000

LANTAI KAYU

Kronotec (per meter) Rp 225.000

HDM Glossy (per boks) Rp 550.000

KERAMIK DINDING

20×20

Roman

(putih) Rp 50.000

(motif) Rp 55.000

Masterina

(putih) Rp 40.000

(motif) Rp 50.000

KIA

(putih) Rp 37.500

(motif) Rp 42.500

20×25

Mulia

(warna muda) Rp 45.000

(warna tua) Rp 50.000

IKAD

(warna muda) Rp 42.500

(warna tua) Rp 52.500

Roman

25×33 Roman Rp 50.000

33×50 Roman Rp 80.000

30×30 Hercules (putih) Rp 42.500

Acura (putih) Rp 35.000

KIG (warna) Rp 40.000

KIA (warna) Rp 40.000

60 x 60 Platinum Rp 125.000

30 x 60 Platinum Rp 75.000

58 x 58 Platinum Rp 110.000

Selain info bahan bangunan 2013, silahkat lihat homepage kami untuk tips dan informasi renovasi rumah

SANITARI

KLOSET DUDUK

Sanremo Classis CCST Rp 1.325.000

Lexington Rp 3.500.000

Granada 3000 CCST Rp 1.275.000

Granada II Space CCST Rp 1.500.000

Projecta Rp 1.000.000

KLOSET JONGKOK

Rapi EX Squat Rp 250.000

WASTAFEL/LAVATORY

San Remo 55 Lava & Pedestal Rp 650.000

Studio 3000 Lava & Pedestal Rp 475.000

Studio 50 Lavatory Rp 250.000

Studio 45 Lavatory Rp 200.000

GRANIT

Impero 40×40 Rp 125.000

Granito 40×40 Rp 210.000

Inesa 40×40 Rp 175.000

Niro 40×40 Rp 160.000

Essenza 40×40 Rp 175.000

KUNCI

Firo Rp 275.000

Napoli Rp 30.000

Romaco Rp 65.000

Ferza Rp 33.500

Top Rp 30.000

Paloma Rp 420.000

Yale Rp 125.000

Beluci Rp 130.000

Note : Kami tidak menjual bahan bangunan diatas, Daftar Harga Bangunan yang kami masukkan dalam blog ini  sifatnya sebagai Info dan acuan untuk membantu membuat anggaran atau estimasi dalam membangun dan merenovasi rumah. Koreksi mengenai perubahan /perbedaan harga dari teman-teman akan sangat kami hargai.......

LIST BAHAN BANGUNAN

Air Conditioner( AC ) Bagi masyarakat Jakarta sepertinya sudah telah menjadi kebutuhan wajib.

Bagaimana tidak,suhu udara yang begitu panas setiap hari telah membuat suasana ruangan menjadi gerah. Apalagi tingkat populasi udara luar ruangan yang begitu tinggi. Kehadiran AC telah menjadi solusi yang tepat untuk kedua problem ini.

Apabila saat anda berencana membeli perangkat AC untuk dirumah,mungkin beberapa tips ini bisa membantu anda :

Pilih AC yang telah mempunyai converter ( sparepart ac sebagai penghemat listrik )

Converter pada AC berfungsi untuk dapat mengatur beban listrik,secara otomatis AC akan dapat mengurangi beban pendinginan tetapi masih dalam posisi menyala (on).Seperti yang kita ketahui daya listrik terbesar pada saat start.

Perhatikan bagian kipasnya

Semakin lebar kipas,semakin kencang angin yang di hembuskan. Selain itu,AC yang telah memiliki sparepart ac yang ber kipas lebar tidak akan memiliki suara berisik. Evapator yang lebar pada AC juga menandakan kipas pada blower External lebih besar. Ini diperlukan untuk keseimbangan kinerja mesin .Dan akan lebih baik lagi bila kipas tersebut bergerigi karena dapat turbulansi menjadi tidak berisik.

Pertimbangan fitur-fitur tambahan yang berguna untuk kesehatan

Saat ini sudah ada AC dengan fitur yang mampu membasmi kuman. Bahkan ada juga yang mampu menyaring debu yang sangat halus termasuk bakteri. Jadi AC tidak lagi hanya menyejukan ruangan,tapi juga menyehatkan.

Sesuaikan dengan interior rumah

Jika anda seseorang yang peduli terhadap interior rumah,maka pilih AC yang mendukung nuansa interior rumah anda.

TIPS MEMILIH AC / SPAREPART AC YANG BAIK

saco-indonesia.com, Dua pelaku hipnotis dengan modus mengajak kerjasama korbannya, telah diringkus oleh anggota Reskrim Polres Jakarta Utara, Kamis (19/12) dinihari. Kedua pelaku tersebut Budiman yang berusia 35 tahun dan Faisal yang berusia 38 tahun , telah ditangkap usai membawa kabur uang Rp 8 juta dari kartu ATM milik Turyanto, yang berusia 41 tahun .

Kasat Reskrim Polres Jakarta Utara, AKBP Daddy Hartadi juga mengatakan, dua pelaku telah memiliki jaringan kelompok tersebar di Jakarta. Setiap beraksi kepada calon korbannya mereka juga mengaku berasal dari negara Brunai Darusalam, Singapura atau Malaysia. “Mereka juga buat logat bahasa seperti orang Brunai. Begitu korban terlena selanjutnya mereka mengajak kerjasama,” kata Daddy.

Pelaku Budiman berpura-pura untuk menawarkan tumpangan sebagai pemilik mobil untuk dapat mengantarkan ke Roxi. Namun saat berada di jalan korban di imingi kartu ATM yang saldonya masih berisi Rp99 juta. Korban yang tergiur selanjutnya disuruh tersangka untuk mengecek saldo kartu ATM korban dan hanya 8 juta.

Dalam pengaruh hipnotis korban langsung menuruti semua kemauan pelaku, termasuk diajak untuk menukar kartu ATM miliknya dengan ATM pelaku yang ternyata kosang. Dalam kondisi terhipnotis, ia kemudian di turunkan para pelaku di depan kantor Walikota Jakarta Utara.

Ia baru sadar 15 menit kemudian, ketika memeriksa kartu ATM-nya uangnya sudah raib. Sementara kartu ATM milik tersangka kosong. Kasus tersebut kemudian telah dilaporkan ke Polres Jakarta Utara.

Petugas yang bergerak cepat kemudian telah berhasil meringkus kedua tersangka tak jauh dari lokasi, berkat keterangan dan ciri-ciri yang telah disebutkan korban. “Tersangka sudah lama jadi DPO kita, korbannya juga sudah banyak. Kita harapakan bagi siapapun yang pernah ditipu dengan modus tersebut melapor ke Polrea Jakut,” ujar Daddy.


Editor : Dian Sukmawati

UANG RP 8 JUTA RAIB SETELAH DIHIPNOTIS

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

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

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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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.”

 
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promo berangkat umrah april depok
paket promo umrah januari di Duren Sawit jakarta
harga umrah ramadhan di Rawa Bunga jakarta
biaya paket umroh desember di Pondok Bambu jakarta
harga berangkat umrah maret di Ciracas jakarta
harga paket berangkat umrah ramadhan di Malaka Sari jakarta
paket umroh april di Dukuh jakarta
paket promo umrah maret di Susukan jakarta
biaya umroh januari di Cipinang Cempedak jakarta
paket promo umroh januari di Bali Mester jakarta
harga paket umrah akhir tahun bekasi utara
paket promo umrah januari di Pondok Kopi jakarta
promo berangkat umrah ramadhan di Utan Kayu Utara jakarta
harga paket berangkat umroh juni di Kayu Manis jakarta
biaya berangkat umrah awal tahun di Kampung Tengah jakarta
harga berangkat umrah akhir tahun di Cipinang Cempedak jakarta
paket umrah akhir tahun di Cipinang jakarta
promo umrah juni di Ciracas jakarta
harga paket umroh awal tahun di Pulo Gadung jakarta
harga paket umrah ramadhan di Cililitan jakarta
paket promo berangkat umroh awal tahun di Utan Kayu Utara jakarta
harga paket umrah akhir tahun di Pondok Kelapa jakarta
biaya umrah akhir tahun di Bali Mester jakarta
promo umroh awal tahun di Malaka Jaya jakarta
harga umrah april di Duren Sawit jakarta
harga umroh maret di Kalisari jakarta
paket berangkat umrah awal tahun di Lubang Buaya jakarta
harga paket berangkat umrah awal tahun di Pondok Kopi jakarta
harga umrah februari di Pondok Ranggon jakarta
paket promo umroh ramadhan di Cipayung jakarta
paket promo berangkat umroh januari di Bali Mester jakarta
paket umrah februari di Kampung Melayu jakarta
paket promo berangkat umrah februari bekasi selatan
promo umrah januari di Batuampar jakarta
biaya umroh awal tahun di Pondok Kopi jakarta
promo berangkat umroh juni di Rawa Terate jakarta
harga paket umroh mei di Pisangan Timur jakarta
harga paket berangkat umroh april di Kebon Manggis jakarta
paket umrah april di Kampung Melayu jakarta
paket umroh januari di Batuampar jakarta
paket promo umroh ramadhan di Dukuh jakarta
promo umroh awal tahun di Dukuh jakarta
biaya paket berangkat umrah mei di Kebon Manggis jakarta