Agen Tiket Pesawat di Kutai Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
Agen Tiket Pesawat di Malang Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
Agen Tiket Pesawat di Yogyakarta Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
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Agen Tiket Pesawat di Pontianak Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
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Agen Tiket Pesawat di Palembang Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.
PT. Arminareka Perdana adalah Perusahaan Biro Penyelenggara Perjalanan Umroh dan Haji Plus yang berdiri seja
PT. Arminareka Perdana adalah Perusahaan Biro Penyelenggara Perjalanan Umroh dan Haji Plus yang berdiri sejak 9 Februari 1990 dengan Divisi Marketing yaitu PT. Armina Utama Sukses
No. Surat Izin Usaha Biro Perjalanan Umum : Kep.21/BPU/II/90
NPWP : 01.342.510.3-432.000
No.Izin Domisili : 300/75/KI IB/XI/2007
No.Izin Umrah D / 142 Tahun 2009
No.Izin Haji D / 80 Tahun 2009
Struktur Organisasi PT. Armina Utama Sukses
I. DIREKSI
Direktur Utama : Ir. Hj. Darnelly Guril, Msc.
Direktur Marketing : H. Subaebasni, SE.
Sekretaris Direksi : P. Widhiastuti, SP
Komisaris : H. Heru Syam
Presenter : Dhani Kusuma
Lili Sukarli
Rita Andayani
Maulina Pabelu
Muchlis Raya
IT : Muhammad Sultomi
Staff IT : Irwan Syahputra, S.Kom
Bagian Umrah & Haji : Hj. Wiwi Sobarsari
Administrasi : Siska Nurfianti
Keuangan : Hj. Ismeini Lestari
Keuangan : Fitri Nurul Aini
Data Enrty : Khumaedi Priyo Leksono
Kasir : Diana Manifestari
Logistik : Budi Mulyanto
OB : Andi Dirgantara
II. TIM PEMBIMBING IBADAH
1.Drs. K.H. Nuruddin Munawar
2. K.H. Ikin Ahmad Sodikin
3. K.H. Dave Ariant Yusuf
4. Drs. H.M. Arif Sholahuddin
5. Ust. H. Abdullah Amsyir
III. TIM PELAKSANA DI SAUDI ARABIA
1. Reservasi hotel, bus, catering di Mekkah dan Jeddah : Khalid Nasir
2. Reservasi hotel, bus, catering di Madinah : Wisnu
3. Handling airport Jeddah : Wadut dan Khalid Nasir
JAKARTA BUTUH LANGKAH EKSTRIM UNTUK DAPAT MENGATASI BANJIR
saco-indonesia.com, Hingga saat ini banjir telah masih menggenani sebagian kawasan di Jakarta. Banjir kali ini lebih lama jika d
saco-indonesia.com, Hingga saat ini banjir telah masih menggenani sebagian kawasan di Jakarta. Banjir kali ini lebih lama jika dibandingkan dengan banjir tahun lalu. Mantan Kapolda Metro Jaya Komjen (Purn) Noegroho Djajusman telah menilai butuh langkah ektrim untuk dapat mengatasi masalah banjir di Ibu Kota.
"Banjir di Jakarta saat ini, berbeda kondisi seperti ini saat jaman saya. Mungkin alamnya juga sudah berubah, pemanasan global. Kita butuh langkah ektrim untuk dapat menyudahi masalah banjir,"kata Noegroho saat berbincang, Kamis (6/2/2014).
Lebih lanjut dia juga berharap Pemprov DKI dapat memperhatikan daerah resapan baik di di hulu, maupun di hilir. "Saya lihat sudah ada pembongkaran sejumlah villa di daerah puncak beberapa waktu lalu. Jadi memang perlu dibuat tindakan tegas, namun tak hanya di wilayah hulu, juga di hilirnya," tegasnya.
Strategi blusukan yang telah diterapkan oleh Gubernur DKI Jakarta Joko Widodo (jokowi), lanjutnya, dianggap tidak akan mampu untuk mengatasi masalah banjir. "Jangan blusukan saja Jokowi, perlu langkah tegas,"tukasnya.
Editor : Dian Sukmawati
MESIN STAMPEL
MESIN STAMPEL
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Rp. 1.200.000,-
MELAKSANAKAN HAJI UMRAH, KEWAJIBAN YANG BERIHRAM DAN ZIARAH KE MASJID RASUL
Oleh
Kumpulan Ulama
Saudara yang budiman.
Dalam melakukan ibadah haji terdapat tiga cara, yaitu : TAMATTU', QIRAN dan I
Oleh
Kumpulan Ulama
Saudara yang budiman.
Dalam melakukan ibadah haji terdapat tiga cara, yaitu : TAMATTU', QIRAN dan IFRAD.
Haji Tammatu' ialah berihram untuk umrah pada bulan-bulan haji (Syawal, Dzul Qa'dah dan sepuluh hari pertama bulan Dzul Hijjah), dan diselesaikan umrahnya pada waktu-waktu itu. Kemudian berihram untuk haji dari Mekkah atau sekitarnya pada hari Tarwiyah (tgl 8 Dzul Hijjah) pada tahun umrahnya tersebut.
Haji Qiran ialah, berihram untuk umrah dan haji sekaligus, dan terus berihram (tidak Tahallul) kecuali pada hari nahr (tgl 10 Dzul Hijjah). Atau berihram untuk umrah terlebih dahulu, kemudian sebelum melakukan tawaf umrah memasukkan niat haji.
Haji Ifrad ialah, berihram untuk haji dari miqat, atau dari Mekkah bagi penduduk Mekkah, atau dari tempat lain di daerah miqat bagi yang tinggal disitu, kemudian tetap dalam keadaan ihramnya sampai hari nahr apabila ia membawa binatang kurban. Jika tidak membawanya maka dianjurkannya untuk membatalkan niat hajinya dan menggantinya dengan umrah, selanjutnya melakukan tawaf, sa'i, mencukur rambut dan bertahallul, sebagaiman perintah Rasul Shallallahu 'alaihi wa sallam terhadap orang-orang yang berihram haji tetapi tidak membawa binatang kurban. Begitu pula bagi yang melakukan haji Qiran, apabila ia tidak membawa binatang kurban, dianjurkannya untuk membatalkan niat Qiran-nya itu, dan menggantinya menjadi Umrah, sebagaimana yang tersebut diatas.
Ibadah haji yang lebih utama ialah Haji Tamattu' bagi yang tidak membawa binatang kurban, oleh karena Rasulullah Shallallahu 'alaihi wa sallam memerintahkan hal itu dan menekankannya kepada para sahabatnya.
CARA MELAKUKAN UMRAH
Pertama.
Apabila anda telah sampai di miqat, maka mandilah dan pakailah wangi-wangian jika hal itu memungkinkan, kemudian kenakanlah pakaian ihram (sarung dan selendang). Dan lebih utama apabila berwarna putih.
Bagi wanita boleh mengenakan pakaian yang ia sukai, asal tidak menampakkan perhiasan. Kemudian berniat ihram untuk umrah seraya mengucapkan :
"Labbaika 'umratan, Labbaika allahuma labbaika, labbaika laa syariikalaka labbaika, innal hamda wan ni'mata laka wal mulka laa syariika laka".
"Artinya : Ku sambut panggilan-Mu untuk melaksanakan Umrah. Ku sambut panggilan-Mu ya Ilahi, Ku sambut panggilan-Mu, Ku sambut pangggilan-Mu, tiada sekutu bagi-Mu, Ku sambut panggilan-Mu. Sesungguhnya segala puji, ni'mat dan kerajaan adalah milk-Mu, tiada sekutu bagi-Mu"
Bagi kaum pria hendaknya mengucapkan talbiyah ini dengan suara keras, sedangkan bagi wanita hendaknya mengucapkan dengan suara pelan.
Kemudian perbanyaklah membaca talbiyah. dzikir dan istighfar serta menganjurkan berbuat baik dan mencegah kemungkaran.
Kedua.
Apabila anda telah sampai Mekkah. Maka lakukanlah Tawaf di Ka'bah sebanyak tujuh kali putaran, anda mulai dari Hajar Aswad sambil bertakbir dan anda sudahi di Hajar Aswad itu pula. Dan bacalah dzikir serta do'a yang anda kehendaki, dan sebaiknya anda sudahi setiap putaran dengan bacaan.
"Rabbanaa aatinaa fiid dunyaa hasanah, wa fil akhirati hasanah, wa qinaa 'adzaa baannari"
"Artinya : Wahai Tuhan kami, berilah kami kebaikan di dunia dan kebaikan di akhirat, dan lindungilah kami dari siksaan api neraka".
Kemudian setelah Tawaf, lakukan shalat dua raka'at di belakang makam Ibrahim walaupun agak jauh dari tempat tersebut jika hal itu mungkin. Dan jika tidak, maka lakukanlah di tempat lain di dalam Masjid.
Ketiga.
Kemudian keluarlah menuju Safa dan naiklah ke atasnya sambil menghadap Ka'bah, bacalah tahmid serta takbir tiga kali sambil mengangkat kedua tangan, dan bacalah do'a serta ulangilah setiap do'a tiga kali sesuai dengan sunnah Rasulullah Shallallahu 'alaihi wa sallam, dan ucapkanlah :
"La ilaha illallah wahdahu laa syariikalahu, lahul mulku walahul hamdu wa huwa 'alaa kulli syain qadiir, la ilaha illallah wahdahu anjaza wa'dah, wa nashara 'abdah wahazamal ahzaaba wahdah"
"Artinya : Tiada Tuhan yang patut di sembah selain Allah yang Maha Esa, tiada sekutu bagi-Nya, hanya bagi-Nya segala kerajaan, dan hanya bagi-Nya segala puji, dan Dia Maha Kuasa atas segala sesuatu. Tiada Tuhan yang patut disembah selain Allah yang Esa, yang menepati janji-Nya, dan memenangkan hamba-Nya serta telah menghancurkan golongan kafir, dengan tanpa dibantu siapapun".
Ucapkanlah bacaan tersebut tiga kali, dan tak mengapa apabila anda baca kurang dari bilangan itu.
Kemudian turunlah dan lakukanlah Sa'i Umrah sebanyak tujuh kali putaran dengan berjalan cepat diantara tanda hijau, dan berjalan biasa sebelum dan sesudah tanda tersebut, kemudian naiklah anda ke atas Marwah, dan bacalah tahmid dan takbir tiga kali apabila mungkin, sebagaimana yang anda lakukan di Safa.
Dalam Tawaf atau Sa'i, tidak ada bacaan dzikir wajib yang khsusus untuk itu. Akan tetapi dibolehkan bagi yang melakukan Tawaf atau Sa'i untuk membaca dzikir dan do'a atau bacaan Al-Qur'an yang mudah baginya, dengan mengutamakan bacaan-bacaan dzikir dan do'a yang bersumber dari tuntunan Rasul Shallallahu 'alaihi wa sallam.
Keempat.
Bila anda telah selesai melakukan Sa'i, maka cukurlah dengan bersih atau pendekkan rambut kepala anda. Dengan demikian selesailah Umrah anda dan selanjutnya anda diperbolehkan melakukan hal hal yang tadinya menjadi larangan.
Apabila anda melakukan haji Tamattu', maka wajib bagi anda menyembelih kurban pada hari Nahr, yaitu seekor kambing atau sepertujuh onta/sapi, jika anda tidak mendapatkannya, maka anda wajib melakukan puasa sepuluh hari ; tiga hari diwaktu haji, dan tujuh hari setelah anda pulang ke keluarga anda.
Dan lebih utama, anda lakukan puasa tiga hari itu sebelum hari Arafah, jika anda melakukan haji Tamattu' atau Qiran.
Cara Melakukan Haji
Pertama
Jika anda melakukan haji Ifrad atau Qiran, hendaklah anda berihram dari miqat yang anda lalui.
Dan jika anda tinggal di daerah miqat, maka berihramlah menurut niat anda dari tempat tersebut.
Dan jika anda melakukan haji Tammattu', maka berihramlah dari tempat tinggal anda hari Tarwiyah, yaitu pada tanggal 8 Dzul Hijjah. Mandilah dan pakailah wangi-wangian lebih dahulu sekiranya hal itu memungkinkan, kemudian kenakanlah pakaian ihram, lalu berniatlah dengan membaca :
"Labbaika hajan, Labbaika allahumma labbaika, Labbaika laa syarikalaka labbaika, innalhamda wani'mata laka walmulka, laa syarikalaka".
"Artinya : Ku sambut panggilan-Mu untuk menunaikan haji, Ku sambut panggilan-Mu ya Illahi, Ku sambut panggilan-Mu. Ku sambut panggilan-Mu, Kau yang tiada sekutu bagi-Mu, Ku sambut panggilan-Mu. Sesungguhnya segala puji, ni'mat dan kerajaan milik-Mu, tiada sekutu bagi-Mu".
Kedua
Kemudian keluarlah menuju Mina, lakukanlah shalat Zhuhur, Asar, Maghrib, Isya' dan Subuh disana, dengan cara mengqashar shalat yang empat raka'at (Zhuhur, Asar dan Isya') menjadi dua raka'at pada waktunya masing-masing, tanpa jama'.
Ketiga
Apabila matahari telah terbit pada hari kesembilan Dzul Hijjah (esoknya), maka berangkatlah anda menuju Arafah dengan tanpa tergesa-gesa, dan hindarilah jangan sampai mengganggu sesama jama'ah haji. Dan di Arafah lakukan shalat Zhuhur dan Asar dengan jama' Taqdim dan Qashar, dengan satu kali adzan dan dua kali iqamat.
Tentang wukuf ini, anda harus yakin bahwa anda benar-benar telah berada di dalam batas Arafah (bukan di luarnya). Dan perbanyaklah disini dzikir dan do'a, sambil menghadap kiblat dan mengangkat kedua tangan, mencontoh apa yang dilakukan Rasulullah Shallallahu 'alaihi wa sallam. Padang Arafah seluruhnya merupakan tempat wukuf, dan hendaklah anda tetap berada disana hingga terbenam matahari.
Keempat.
Apabila matahari telah terbenam, berangkatlah menuju Muzdalifah dengan tenang sambil membaca talbiyah, dan hindarilah jangan sampai mengganggu sesama muslim. Sesampainya anda di Muzdalifah, lakukanlah shalat Maghrib dan Isya' dengan jama' dan qasar. Dan hendaklah anda menetap disana hingga anda melakukan shalat Subuh. Setelah selesai shalat Subuh perbanyaklah do'a dan dzikir hingga hari tampak mulai terang, sambil menghadap kiblat dan mengangkat kedua tangan mengikuti tuntunan Rasulullah Shallallahu 'alaihi wa sallam.
Kelima.
Kemudian berangkatlah sebelum matahari terbit menuju Mina sambil membaca talbiyah. Bagi yang berudzur, seperti wanita dan orang-orang yang lemah, boleh berangkat menuju Mina pada malam itu juga setelah lewat pertengahan malam. Dan pungutlah di Mudzalifah batu-batu kecil sebanyak tujuh biji saja untuk melempar Jamrah Aqabah, adapun yang lain cukup anda pungut dari Mina. Demikian juga tujuh batu yang akan anda pergunakan untuk melempar Jamrah Aqabah pada hari raya, tak mengapa bagi anda untuk memungutnya dari Mina.
Keenam.
Apabila anda telah tiba di Mina, lakukanlah hal-hal dibawah ini :
Lemparlah Jamrah Aqabah, yaitu Jamrah yang terdekat dari Mekkah, dengan tujuh batu kecil secara berturut-turut sambil bertakbir pada setiap kali lemparan.
Sembelihlah kurban jika anda berkewajiban melakukannya, dan makanlah sebagian dagingnya, serta berikan sebagian besarnya kepada orang-orang fakir.
Bercukurlah dengan bersih atau pendekkan rambut anda, akan tetapi lebih utama bagi anda adalah mencukur bersih. Sedang bagi wanita cukup menggunting ujung rambutnya kira-kira sepanjang ujung jari.
Lebih utama jika ketiga perkara ini dilakukan secara tertib. Namun tak mengapa bagi anda jika anda dahulukan yang satu atas yang lain.
Apabila anda telah selesai melempar dan mencukur, berarti anda telah melaksanakan Tahallul Awal. Dan selanjutnya anda boleh mengenakan pakaian biasa dan melakukan hal-hal yang tadinya menjadi larangan ihram, kecuali berhubungan dengan istri.
Ketujuh
Kemudian berangkatlah menuju Mekkah dan lakukanlah Tawaf Ifadah setelah itu lakukanlah Sa'i jika anda melakukan haji Tamattu', ataupun anda melakukan haji Qiran atau Ifrad, akan tetapi anda belum melakukan Sa'i setelah Tawaf Qudum. Dengan demikian anda diperbolehkan mengadakan hubungan dengan isteri.
Tawaf Ifadah ini boleh diakhirkan melakukannya setelah lewat hari-hari Mina, dan menuju Mekkah setelah melempar seluruh Jamrah.
Kedelapan
Setelah Tawaf Ifadah pada hari Nahr, kembalilah ke Mina. Bermalamlah di sana pada malam hari Tasyriq, yaitu tanggal 11, 12, dan 13, dan tidak mengapa jika anda bermalam hanya dua malam saja.
Kesembilan
Lemparlah ketiga Jamrah selama anda menetap dua atau tiga hari di Mina, setelah matahari tergelincir ; anda mulai dari Jamrah Ula, yaitu yang terjauh jaraknya dari Mekkah, kemudian Jamrah Wusta (tengah), dan selanjutnya Jamrah Aqabah, setiap Jamrah dengan tujuh batu kecil secara berturut-turut sambil bertakbir pada setiap kali lemparan.
Jika anda menghendaki untuk menetap selama dua hari saja, hendaklah anda meninggalkan Mina sebelum matahari terbenam di hari kedua itu. Dan jika ternyata matahari telah terbenam sebelum anda keluar dari batas Mina, maka hendaklah anda bermalam lagi pada malam hari ketiganya, dan melempar ketiga Jamrah di hari ketiga itu. Dan yang lebih utama hendaknya anda bermalam pada malam ketiga tersebut.
Bagi yang sakit atau yang lemah, boleh mewakilkan kepada orang lain untuk melempar Jamrah. Dan bagi yang mewakili boleh melempar untuk dirinya sendiri terlebih dahulu, kemudian untuk yang diwakilinya pada satu tempat Jamrah.
Kesepuluh
Apabila anda hendak kembali ke kampung setelah menyelesaikan segala amalan haji, lakukanlah Tawaf Wada'. Dan tiada kemurahan untuk meninggalkan Tawaf Wada' ini, kecuali bagi wanita yang sedang datang bulan (haidh) dan yang baru melahirkan (nifas).
[Disalin dari buku Petunjuk Jamaah Haji dan Umrah serta Penziarah Masjid Rasul Shallallahu 'alaihi wa sallam, pengarang Kumpulan Ulama, hal 14-19, diterbitkan dan diedarkan oleh Departemen Agama, Waqaf, Daawah dan Bimbingan Islam, Saudi Arabia]
saco-indonesia.com, 3 Pemuda yaitu Rio M Saragi (22), Tedi Wibowo (26) dan Messakh George (22) telah diamuk massa. Ketiga ttelah
saco-indonesia.com, 3 Pemuda yaitu Rio M Saragi (22), Tedi Wibowo (26) dan Messakh George (22) telah diamuk massa. Ketiga ttelah dihajar usai melakukan pengeroyokan terhadap Yulianto yang berusia (26) tahun .
Kejadian tersebut bermula saat korban Yulianto, pengendara motor telah terlibat kecelakaan dengan kakak Rio. Rio yang tidak terima kemudian mendatangi Yulianto. Namun Rio tidak datang sendiri, dia datang bersama Tedi Wibowo dan Messakh George.
Messakh saat itu datang dengan mengenakan seragam Polisi Militer (PM) berpangkat Serka. Yulianto dan Rio Cs akhirnya telah terlibat cekcok. Ketiga pelaku lalu memukuli Yulianto.
Kalah jumlah, Yulianto lalu berteriak meminta pertolongan warga sekitar di Gang Keramat, Jagakarsa, Jakarta Selatan, Selasa (4/2) dinihari pukul 01.30 WIB.
"Para pelaku telah menuntut ganti rugi, tetapi korban ngotot sehingga telah terjadi cekcok mulut hingga pengeroyokan," ujar Kapolsek Jagakarsa, Kompol Herawaty, Selasa (4/2).
Warga yang telah mendengar teriakan Yulianto tersebut langsung mendatangi lokasi. Warga yang telah melihat 3 orang salah satunya berpakaian militer akhirnya menolong Yulianto.
Warga pun beramai-ramai memukuli ketiganya hingga babak belur. Dari hasil penyelidikan tersebut , seragam PM yang dipakai Messakh ternyata milik kakeknya, dengan kata lain Messakh adalah PM gadungan.
"Menurut pengakuannya pelaku seragam memakai baju dinas PM juga merupakan punya kakeknya yang pensiunan anggota TNI," tandasnya.
Editor : Dian Sukmawati
KALIBRASI ADALAH
Kalibrasi merupakan proses verifikasi bahwa suatu alat ukur yang akurat sesuai dengan jenis desain. Kalibrasi ini biasanya dilak
Kalibrasi merupakan proses verifikasi bahwa suatu alat ukur yang akurat sesuai dengan jenis desain. Kalibrasi ini biasanya dilakukan dengan membandingkan standar yang terkait dengan standar nasional dan internasional dan materi referensi bersertifikat.
Kalibrasi diperuntukan pada :
Alat/instrument baru
Suatu alat/instrument disetiap waktu tertentu
Suatu alat/instrument setiap waktu penggunaan tertentu (jam operasi)
Ketika suatu alat/instrument mengalami hantaman atau getaran yang berpotensi dapat merubah kalibrasi
Ketika hasil pengamatan dipertanyakan
Kalibrasi, umumnya, adalah proses untuk menyesuaikan output atau indikasi dari suatu alat/instrument pengukuran agar sesuai dengan besaran/satuan dari standar yang digunakan dalam akurasi/range tertentu. Contohnya, micrometer dapat dikalibrasi sehingga kesalahan pembacaan atau koreksi dapat ditentukan dan disesuaikan (melalui konstanta kalibrasi), sehingga micrometer tersebut menunjukan ukuran yang sebenarnya dalam milimeter pada titik-titik tertentu di skala.
Di beberapa negara, termasuk Indonesia, terdapat direktorat metrologi yang memiliki standar pengukuran (dalam SI dan satuan-satuan turunannya) yang akan digunakan sebagai acuan bagi alat/instrument yang dikalibrasi. Direktorat metrologi juga mendukung infrastuktur metrologi di suatu negara (dan, seringkali, negara lain) dengan membangun rantai pengukuran dari standar tingkat tinggi/internasional dengan alat/instrument yang digunakan.
Hasil kalibrasi harus disertai pernyataan “traceable uncertainty” atau “ketidakpastian” untuk menentukan tingkat kepercayaan yang di evaluasi dengan seksama dengan analisis ketidakpastian.
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Menjalin Kedekatan dengan Anak Walaupun Kita Sibuk Bekerja
Setiap
ibu tentu ingin selalu bersama dengan buah hatinya.
Saco-Indonesia.com -
Setiap ibu tentu ingin selalu bersama dengan buah hatinya. Tetapi bagi para ibu bekerja di luar
rumah hal itu tak bisa dipenuhi. Menyewa tenaga pengasuh anak adalah solusi alternatif untuk
mengurus si kecil. Meski waktu yang Anda miliki terbatas saat di rumah, Anda tetap bisa menjalin
kedekatan dengan anak agar ia tak terlalu "lengket" dengan pengasuhnya.
Menurut Rini Hildayani, psikolog Anak dari Fakultas Psikologi Universitas Indonesia,
secara alamiah anak akan lebih mengenali orang yang berinteraksi lebih baik dengannya. Kedekatan
dengan anak ini disebut dengan istilah attachment.
Rini memaparkan,
pada usia baru lahir hingga 6 minggu merupakan fase preattachment yaitu anak belum dapat
mengetahui siapa orang yang dekat dengannya. Usia 6 minggu hingga 6 atau 8 bulan merupakan fase
attachment in the making yaitu anak sudah mulai dapat membedakan orang yang dekat
dengannya.
Sedangkan usia 6 atau 8 bulan hingga 18 atau 24 bulan merupakan
fase clear-cut attachment yaitu dimana anak sudah dapat membedakan dengan jelas orang
yang dekat dengannya. Dan usia 18 atau 24 bulan ke atas, fase formation of reciprocal
relationship, anak sudah dapat memberikan aksi timbal balik dari kedekatannya dengan
seseorang.
Kesibukan seringkali menjadi halangan untuk bisa dekat dengan anak
Anda. Namun untuk dapat menjadi orang yang dekat dengan anak, Anda perlu menyiasati waktu
pertemuan Anda yang singkat dengannya secara optimal.
"Meskipun secara
kuantitas pertemuan Anda dengan anak sedikit, namun jika kualitasnya baik, anak Anda akan merasa
dekat dengan Anda," tutur Rini.
Lalu bagaimana cara mendekatkan diri
dengan anak meski jarang bertemu? Simak kiat dari Rini berikut ini.
1.
Sediakan waktu selama mungkin untuk dihabiskan dengan si kecil. Jika Anda harus bekerja dari
pagi hingga malam, pastikan setidaknya Anda memberikan setengah jam untuk bermain dengannya.
2. Jangan sibuk dengan yang lain saat bersamanya. Secara fisik dekatnya saja
tidak cukup untuk membuat Anda benar-benar menciptakan kedekatan dengan anak. Upayakan untuk
benar-benar fokus pada si kecil dan tinggalkan urusan di luar itu.
3.
Optimalkan untuk bermain. Permainan-permainan kecil seperti bernyanyi bersama, atau merespon
kata-katanya akan semakin mendekatkan Anda dengan si buah hati.
4. Hargai
dia. Ingat, anak Anda bukan barang. Saat akan menggendongnya, mengganti popoknya, atau
memberinya makan, pastikan Anda mengajaknya bicara dan meminta "izin" padanya saat
akan melakukannya. Selain mengajari kata-kata baru padanya, ini juga akan membantu menciptakan
kedekatan.
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.
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.’”
Nepal’s Young Men, Lost to Migration, Then a Quake
Photo
Many bodies prepared for cremation last week in Kathmandu were of young men from Gongabu, a common stopover for Nepali migrant workers headed overseas.Credit Daniel Berehulak for The New York Times
KATHMANDU, Nepal — When the dense pillar of smoke from cremations by the Bagmati River was thinning late last week, the bodies were all coming from Gongabu, a common stopover for Nepali migrant workers headed overseas, and they were all of young men.
Hindu custom dictates that funeral pyres should be lighted by the oldest son of the deceased, but these men were too young to have sons, so they were burned by their brothers or fathers. Sukla Lal, a maize farmer, made a 14-hour journey by bus to retrieve the body of his 19-year-old son, who had been on his way to the Persian Gulf to work as a laborer.
“He wanted to live in the countryside, but he was compelled to leave by poverty,” Mr. Lal said, gazing ahead steadily as his son’s remains smoldered. “He told me, ‘You can live on your land, and I will come up with money, and we will have a happy family.’ ”
Weeks will pass before the authorities can give a complete accounting of who died in the April 25 earthquake, but it is already clear that Nepal cannot afford the losses. The countryside was largely stripped of its healthy young men even before the quake, as they migrated in great waves — 1,500 a day by some estimates — to work as laborers in India, Malaysia or one of the gulf nations, leaving many small communities populated only by elderly parents, women and children. Economists say that at some times of the year, one-quarter of Nepal’s population is working outside the country.
Dave Goldberg, Head of Web Survey Company and Half of a Silicon Valley Power Couple, Dies at 47
By VINDU GOEL and QUENTIN HARDY
Mr. Goldberg was a serial Silicon Valley entrepreneur and venture capitalist who was married to Sheryl Sandberg, the chief operating officer of Facebook.
Jack Ely, Who Sang the Kingsmen’s ‘Louie Louie’, Dies at 71
A 2-minute-42-second demo recording captured in one take turned out to be a one-hit wonder for Mr. Ely, who was 19 when he sang the garage-band classic.
Native American Actors Work to Overcome a Long-Documented Bias
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?”
From T Magazine: Street Lit’s Power Couple
THE WRITERS ASHLEY AND JAQUAVIS COLEMAN know the value of a good curtain-raiser. The couple have co-authored dozens of novels, and they like to start them with a bang: a headlong action sequence, a blast of violence or sex that rocks readers back on their heels. But the Colemans concede they would be hard-pressed to dream up anything more gripping than their own real-life opening scene.
In the summer of 2001, JaQuavis Coleman was a 16-year-old foster child in Flint, Mich., the former auto-manufacturing mecca that had devolved, in the wake of General Motors’ plant closures, into one of the country’s most dangerous cities, with a decimated economy and a violent crime rate more than three times the national average. When JaQuavis was 8, social services had removed him from his mother’s home. He spent years bouncing between foster families. At 16, JaQuavis was also a businessman: a crack dealer with a network of street-corner peddlers in his employ.
One day that summer, JaQuavis met a fellow dealer in a parking lot on Flint’s west side. He was there to make a bulk sale of a quarter-brick, or “nine-piece” — a nine-ounce parcel of cocaine, with a street value of about $11,000. In the middle of the transaction, JaQuavis heard the telltale chirp of a walkie-talkie. His customer, he now realized, was an undercover policeman. JaQuavis jumped into his car and spun out onto the road, with two unmarked police cars in pursuit. He didn’t want to get into a high-speed chase, so he whipped his car into a church parking lot and made a run for it, darting into an alleyway behind a row of small houses, where he tossed the quarter-brick into some bushes. When JaQuavis reached the small residential street on the other side of the houses, he was greeted by the police, who handcuffed him and went to search behind the houses where, they told him, they were certain he had ditched the drugs. JaQuavis had been dealing since he was 12, had amassed more than $100,000 and had never been arrested. Now, he thought: It’s over.
But when the police looked in the bushes, they couldn’t find any cocaine. They interrogated JaQuavis, who denied having ever possessed or sold drugs. They combed the backyard alley some more. After an hour of fruitless efforts, the police were forced to unlock the handcuffs and release their suspect.
JaQuavis was baffled by the turn of events until the next day, when he received a phone call. The previous afternoon, a 15-year-old girl had been sitting in her home on the west side of Flint when she heard sirens. She looked out of the window of her bedroom, and watched a young man throw a package in the bushes behind her house. She recognized him. He was a high school classmate — a handsome, charismatic boy whom she had admired from afar. The girl crept outside and grabbed the bundle, which she hid in her basement. “I have something that belongs to you,” Ashley Snell told JaQuavis Coleman when she reached him by phone. “You wanna come over here and pick it up?”
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.
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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.”
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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.”
How Some Men Fake an 80-Hour Workweek, and Why It Matters
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.
