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Dedeh Uum Fatimah yang berusia 34 tahun , hingga Selasa kemarin sore masih harus menjalani pemeriksaan di Satreskrim Polres Cimahi. Dia sama sekali tidak ada penyesalan atas kasus pembunuhan terhadap anaknya, dengan cara dimasukan ke torn air.
Dedeh Uum Fatimah yang berusia 34 tahun , hingga Selasa kemarin sore masih harus menjalani pemeriksaan di Satreskrim Polres Cimahi. Dia sama sekali tidak ada penyesalan atas kasus pembunuhan terhadap anaknya, dengan cara dimasukan ke torn air.
“ Tersangka juga mengaku tidak menyesal. Dia malah menyesal karena anaknya satu tidak tewas,“ kata Kasat Reskrim Polres Cimahi AKP Supoarma .
Supoarma juga menegaskan, dalam pemeriksaan tersebut , tersangka membunuh anaknya karena sudah kewajiban supaya mereka bisa masuk surga. Bahkan, dengan nada keras tersangka menyesali jika anaknya satu tidak tewas. “ Saya menyesal mengapa satu anak Saya tidak tewas. Saya menyesal,“ aku tersangka dikutip Supoarma.
Kasat menjelaskan, tersangka kemungkinan besar mengalami gangguan jiwa atau stres. Ketika ditanya, lanjutnya semua pertanyaan dijawab lancar dan nyambung antara pertanyaan dan jawaban. Hanya, ketika ditanya apakah menyesal, dia malah mengaku tidak. “ Tidak ada penyesalan yang menjadi persoalan. Dia tidak ada ekpresi yang menyesal,“ jelasnya.
Berdasar dari keterangan dari warga, tersangka juga sudah dua kali mencoba melakukan pembunuhan terhadap anaknya. Kedua kali itu telah berhasil digagalkan, sedang Selasa subuh kembali beaksi dan menewaskan satu anaknya dari dua uang dimsukan ke torn air.
Diberitakan, Dedeh, telah membunuh anaknya di di rumah di Kampung Cijeungjing, Padalarang, Kabupaten Bandung Barat, Selasa subuh. Aisyah Fani,2, tewas di dalam torn sedang kakanya Fahrur Robani,8, selamat. Dia berhasil membuka ikatan dan kabur minta tolong. Sang ibu Dedeh Uum Fatimah,34, diamankan di Mapolres Cimahi.
PELUANG USAHA JASA PENGIRIMAN BARANG
Makin banyaknya orang bertransaksi secara online saat ini mulai membuat paradigma baru dalam kehidupan masyarakat. Orang-orang a
Makin banyaknya orang bertransaksi secara online saat ini mulai membuat paradigma baru dalam kehidupan masyarakat. Orang-orang akan semakin mudah berbelanja walaupun penjual dan pembeli tidak saling bertemu secara fisik, tempat merekapun sangat berjauhan. Itulah sebabnya jasa kirim barang semakin di butuhkan terutama oleh para pelaku bisnis ini.
Peluang bisnis dan prospek jasa kirim barang masih sangat bagus dan terus berkembang. Tentu saja bukan hanya orang yang berbisnis online target utama kita, masyarakat umum hingga perusahaan besar sangat membutuhkan bisnis jasa kirim barang ini. Walau begitu, diperlukan riset yang mendalam guna memulai usaha jasa kirim barang.
Ada beberapa hal yang mesti anda lakukan sebelum memulai usaha jasa kirim barang, riset ini juga akan menentukan jenis usaha jasa kirim barang dan jangkauannya.
1. Tentukan daerah operasional dan alat transportasi usaha jasa kirim barang anda.
Bila lokasi usaha anda berada di pusat bisnis kota yang ramai dengan banyak perusahaan, bank, pusat perbelanjaan dan kantor lainnya. Anda juga dapat memilih sepeda motor sebagai sarana transfortasi utama, ruang lingkup daerah operasi anda mungkin akan lebih kecil karena keterbatasan sepeda motor yang tidak dapat mengantar dengan jarak yang jauh dan paket ukuran besar. Namun sepeda motor juga dapat mempercepat pengantaran paket yang dikirim karena pusat bisnis kota adalah daerah macet, memilih sepeda motor sebagai alat transportasi adalah yang terbaik bagi usaha baru.
Bila lokasi usaha anda jauh dari pusat bisnis kota, atau bagi anda yang sudah menguasai pusat bisnis kota. Pilihan menggunakan mobil adalah keharusan, hal ini karena jarak tempuh mobil lebih luas dan paket yang di antar dapat lebih banyak dan ukuran paket yang lebih besar. Semakin luas jangkauan operasi tentu juga akan semakin banyak keuntungan yang di dapat.
2. Tentukan jenis paket layanan yang akan anda antar
Bila lokasi usaha jasa kirim barang anda berada di pusat bisnis kota, anda juga dapat menangani pengiriman surat menyurat, dokumen penting dan paket-paket kecil di dalam kawasan pusat bisnis kota saja. Transfortasi utama yang anda butuhkan adalah sepeda motor. Kuasai dahulu pasar ini sebelum anda memutuskan melebarkan wilayah operasi.
Bila lokasi usaha jasa kiriman barang anda terletak di pinggiran kota, anda juga dapat mengambil semua jenis paket anataran. Mulai dari surat menyurat, dokumen rahasia, paket kecil sampai kargo ukuran besar. Anda juga dapat beroperasi di semua wilayah, tentu dengan dukungan alat transfortasi mobil yang harus anda miliki. Hal ini juga berlaku bagi anda yang sudah menguasai pasar pusat bisnis kota dan ingin melebarkan pelayanan usaha anda.
3. Tentukan tarif layanan yang anda antar
Anda juga harus menentukan besaran tarif yang pas bagi layanan jasa kirim barang anda. Tentunya tarif untuk dapat mengantar surat dengan dokumen rahasia adalah berbeda walaupun ukuran mungkin saja sama, begitu juga paket. Anda juga harus membuat tarif berdasarkan jenis, berat, ukuran dan jarak tempuh antaran paket tersebut.
Anda juga harus menentukan jam operasional, batas kirim barang, biaya tambahan dan layanan lainnya yang ditawarkan. Anda juga harus menentukan jam berapa batas kirim barang yang langsung diantar hari ini atau termasuk antaran esok hari. Ketahui juga tarif dari kompetitor anda diwilayah usaha anda.
4. Promosikan bisnis jasa pengiriman barang anda
Promosi untuk peluang usaha jasa kirim barang adalah suatu keharusan. Buatlah kartu nama dan brosur atau leaflet usaha anda. Bagikan ke kantor kantor di pusat bisnis kota, tempat keramaian atau toko toko di pasar, mal dan disekitar tempat usaha anda. Buat papan nama didepan lokasi usaha, memasang iklan di korandan yelow page.
Anda juga dapat membuat sebuah Website perusahaan yang profesional guna untuk membantu usaha anda secara online. Pastikan website berisi konten berupa daftar tarif, wilayah operasional, waktu pengiriman dan kalau memungkinkan ada traking barang yang sedang diantar.
5. Urus izin usaha agar bisnis anda menjadi resmi
Izin usaha bagi peluang usaha jasa kirim barang merupakan sebuah keharusan juga, hal ini jugs akan dapat meningkatkan kepercayaan dan kredibilitas usaha anda dimata pelanggan. Pelanggan memerlukan kepastian bahwa barang mereka akan sampai sesuai dengan layanan. Anda dapat mengurus Surat izin gangguan, surat izin usaha perdagangan dan perizinan lain yang dibutuhkan di kantor Dinas Perindustrian dan Perdagangan di Daerah Tingkat II atau setingkat dengan Kabupaten atau Kotamadya setempat. Bagi Kabupaten atau kota yang sudah di lengkapi unit pelayanan terpadu bisa mendapatkannya di sana berikut dengan perizinan lainnya.
6. Kerjasama dengan perusahaan jasa kirim barang lain
Adakalanya barang yang hendak anda kirim ternyata telah memiliki tujuan yang jauh, diluar jangkauan dan belum terdapat kantor atau pelayanan ke daerah tersebut. Tentu anda tidak ingin begitu saja menolaknya karena ini adalah peluang bagi anda, apalagi bila itu pelanggan setia anda. Saat ini banyak yang mengajak kerjasama dibidang jasa pengantaran, anda dapat mengambil salah satunya guna melebarkan sayap. Anda juga dapat berkerjasama dengan perusahaan jasa kirim barang terkemuka seperti FedEx, Tiki atau JNE atau Pos Indonesia. Biasanya mereka akan memberikan diskon khusus bagi anda, barang yang anda kirimpun lebih terjamin.
7. Cari pelanggan tetap
Carilah pelanggan tetap, berikan tarif khusus bagi mereka. Anda juga dapat mendatangi kantor kantor atau restauran guna untuk mengurus pengiriman atau delivery barang mereka. Anda juga dapat menempatkan karyawan di tempat pelanggan tetap anda
Selain beberapa hal di atas, anda juga harus memperhatikan kesiapan usaha anda. Perhatikan kualitas pelayanan usaha, kecepatan dan ketepatan pengiriman, dan tentu saja karyawan anda. Pilih karyawan yang mempunyai keinginan untuk membantu. Dalam bidang jasa, kepuasan pelanggan adalah prioritas utama.
From T Magazine: Street Lits 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?”
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.
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.”
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.”
François Michelin, Head of Tire Company, Dies at 88
Under Mr. Michelin’s leadership, which ended when he left the company in 2002, the Michelin Group became the world’s biggest tire maker, establishing a big presence in the United States and other major markets overseas.