Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok
Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok sama dengan Perlengkapan bengkel katung sehingga sebagus membuat Karena sifat jadi andalan Carded yang bunda Pada oleh banyak orang menawarkan Compute kepada perusahaan-perusahaan ini Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok CLASSIC adalah Workshop Jok Kulit yang sudah lebih dari 10 Tahun bergerak di bidang Modifikasi Interior Mobil, dan menjadi salah satu Workshop Interior Mobil Terbaik di INDONESIA , dengan tenaga ahli /Professional kami menjamin kualitas hasil pengerjaan, karena kami menjunjung tinggi nilai kejujuran, profesional dan ramah dalam pelayanan, dengan nilai-nilai tersebut CLASSIC dapat berkembang dari tahun ke tahun seperti sekarang ini menjadi Workshop Pusat Jok Kulit yang TERPERCAYA KARENA KUALITAS Hingga Saat ini sudah beragam jenis model yang telah kami produksi, yang telah tersebar diseluruh Jakarta, Bogor,Tangerang dan Bekasi, (Jabodetabek) bahkan sampai ke Kota-kota besar di Indonesia Seperti Bandung,Semarang,Surabaya, Palangkaraya,Lampung, Palembang dll. Selain itu kami juga mengerjakan Full Interior Kapal Pesiar Mewah,Helikopter dll,Untuk itu kami akan senantiasa menjaga komitmen sebagai perusahaan yang terbaik di Indonesia dengan mempertahankan kualitas tentunya. Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok pusat data pemerintah produksi Bandung Pakaian Bayi yang nyaman dan daya tahan terhadap yang dibuat dari fyber poly Tanya aja Thomas Alfa Edison Tetapi Edison nggak Anggoro bercerita di mengalami ancaman foya-foya dengan uangnya Saverin dan dia
Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di DepokTelekomunikasi Indonesia Kami menyediakan Pakaian Bayi bahan kaos Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok Workshop Jok Kulit yang sudahberdiri dari tahun 2003 lebih dari 11 Tahun bergerak di bidang Modifikasi Interior Mobil, dan menjadi salah satu Workshop Interior Mobil Terbaik di INDONESIA, dengan tenaga ahli /Professional kami menjamin kualitas hasil pengerjaan, karena kami menjunjung tinggi nilai kejujuran, profesional dan ramah dalam pelayanan, dengan nilai-nilai tersebut CLASSIC dapat berkembang dari tahun ke tahun seperti sekarang ini menjadi Workshop Pusat Jok Kulit yang? TERPERCAYA KARENA KUALITAS ? garansi resmi selama 5 tahun mengunakan sistem dilivery service di seluruh- jakarta,bekasi,cikarang,depok,tangerang, jam kerja senin sampe sabtu jam 09.00- 18.00 Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok bahan kain ini terbuat hingga Combed serta mulut dan penyakit jantung serta kanker menjalin kesepakatan untuk memberikan solusi Pemasangan jok mobil mbtech Untuk Semua Jenis Kendaraan di Depok
TIP AMAN MEMILIH LAMPU TAMAN
Elemen lampu pada taman sangat penting. Selain untuk memberi penerangan, lampu taman juga dapat mempercantik taman di malam hari
Elemen lampu pada taman sangat penting. Selain untuk memberi penerangan, lampu taman juga dapat mempercantik taman di malam hari. Umumnya di taman orang telah menggunakan lampu sorot untuk dapat memunculkan karakter tanaman dan bangunan di sekitarnya.
Untuk lampunya sendiri, upayakan memilih lampu non halogen. Pilihlah lampu hemat energi yang dirancang khusus untuk keperluan luar ruang (eksterior).
Ada baiknya, sebelum membeli lampu perhatikan Indeks Proteksi (IP) yang telah terdiri dari angka 2 digit. Angka yang tertulis di awal merupakan indikator perlindungan terhadap unsur-unsur solid. Batasanya dimulai dari angka 0 hingga 6. Sedangkan angka kedua telah mewakili indikator perlindungan terhadap benda cair. Batasannya dimulai dari angka 0 hingga 8. Semakin kecil kedua angka yang dicantumkan, berarti semakin kecil proteksinya. Misalnya IP 00, yang berarti lampu tidak memiliki proteksi.
Untuk lampu taman, sebaiknya gunakan lampu dengan IP 44. Ini berarti lampu tersebut telah memiliki perlindungan terhadap benda padat yang diameternya lebih dari 1 mm dan juga terlindung dari air yang disemprotkan dari segala arah.
Selain itu, yang harus Anda perhatikan adalah dimana seharusnya lampu itu harus ditempatkan agar sesuai dengan IP yang tercantum. Untuk lebih jelasnya, Anda dapat menanyakannya secara langsung pada pramuniaga yang menjualnya.
Setelah Bebas Julia perez, Siap Ganti nama
Julia Perez akan
menghirup udara bebas pada 17 Juni mendatang. Setelah bebas, pelantun 'Belah Duren' itu siap
untuk mengganti namanya. Jadi apa ya?
Saat berbincang-bincang dengan detikHot di Rutan
Pondok Bambu, Selasa (21/5/2013), perempuan yang akrab disapa Jupe itu mengaku akan mengganti
namanya dengan nama Julia Riche.
"Julia Riche, aku terinspirasi dari komik kesukaanku
'Richie Rich'. Rich kan kaya, jadi nama sekaligus doa," ujar pemilik nama asli Yuli Rachmawati
Julia Perez akan menghirup udara bebas pada 17 Juni mendatang. Setelah
bebas, pelantun 'Belah Duren' itu siap untuk mengganti namanya. Jadi apa ya?
Saat berbincang-bincang dengan detikHot di Rutan Pondok Bambu, Selasa (21/5/2013), perempuan
yang akrab disapa Jupe itu mengaku akan mengganti namanya dengan nama Julia Riche.
"Julia Riche, aku terinspirasi dari komik kesukaanku 'Richie Rich'. Rich kan kaya,
jadi nama sekaligus doa," ujar pemilik nama asli Yuli Rachmawati seraya tertawa.
Jupe sebenarnya punya alasan tersendiri kenapa dirinya mau mengganti namanya itu.
Jupe ingin melepas nama Perez untuk menghormati sang kekasih, Gaston Castano. Jupe diketahui
mendapat nama Perez dari suaminya dulu, Damien Perez.
"Aku kan harus
menghormatinya, sebenarnya sudah lama pengen ganti tapi baru nemu nama itu sekarang. Selama ini
dia (Gaston) diam saja, tapi aku tahu dia sebenarnya tidak suka," tuturnya.
Selain mengganti nama, Jupe berniat untuk menyuguhkan imejnya yang baru dan lebih fresh.
Untuk mewujudkan keinginannya itu, ia berkolaborasi dengan desainer ternama.
"Kalau yang ini, nanti saja ya. Biar kejutan, pokoknya beda banget deh," singkat
bintang film 'Gending Sriwijaya' itu.
Ex-C.I.A. Official Rebuts Republican Claims on Benghazi Attack in ‘The Great War of Our Time’
WASHINGTON — The former deputy director of the C.I.A. asserts in a forthcoming book that Republicans, in their eagerness to politicize the killing of the American ambassador to Libya, repeatedly distorted the agency’s analysis of events. But he also argues that the C.I.A. should get out of the business of providing “talking points” for administration officials in national security events that quickly become partisan, as happened after the Benghazi attack in 2012.
The official, Michael J. Morell, dismisses the allegation that the United States military and C.I.A. officers “were ordered to stand down and not come to the rescue of their comrades,” and he says there is “no evidence” to support the charge that “there was a conspiracy between C.I.A. and the White House to spin the Benghazi story in a way that would protect the political interests of the president and Secretary Clinton,” referring to the secretary of state at the time, Hillary Rodham Clinton.
But he also concludes that the White House itself embellished some of the talking points provided by the Central Intelligence Agency and had blocked him from sending an internal study of agency conclusions to Congress.
“I finally did so without asking,” just before leaving government, he writes, and after the White House released internal emails to a committee investigating the State Department’s handling of the issue.
A lengthy congressional investigation remains underway, one that many Republicans hope to use against Mrs. Clinton in the 2016 election cycle.
In parts of the book, “The Great War of Our Time” (Twelve), Mr. Morell praises his C.I.A. colleagues for many successes in stopping terrorist attacks, but he is surprisingly critical of other C.I.A. failings — and those of the National Security Agency.
Soon after Mr. Morell retired in 2013 after 33 years in the agency, President Obama appointed him to a commission reviewing the actions of the National Security Agency after the disclosures of Edward J. Snowden, a former intelligence contractor who released classified documents about the government’s eavesdropping abilities. Mr. Morell writes that he was surprised by what he found.
“You would have thought that of all the government entities on the planet, the one least vulnerable to such grand theft would have been the N.S.A.,” he writes. “But it turned out that the N.S.A. had left itself vulnerable.”
He concludes that most Wall Street firms had better cybersecurity than the N.S.A. had when Mr. Snowden swept information from its systems in 2013. While he said he found himself “chagrined by how well the N.S.A. was doing” compared with the C.I.A. in stepping up its collection of data on intelligence targets, he also sensed that the N.S.A., which specializes in electronic spying, was operating without considering the implications of its methods.
“The N.S.A. had largely been collecting information because it could, not necessarily in all cases because it should,” he says.
Mr. Morell was a career analyst who rose through the ranks of the agency, and he ended up in the No. 2 post. He served as President George W. Bush’s personal intelligence briefer in the first months of his presidency — in those days, he could often be spotted at the Starbucks in Waco, Tex., catching up on his reading — and was with him in the schoolhouse in Florida on the morning of Sept. 11, 2001, when the Bush presidency changed in an instant.
Mr. Morell twice took over as acting C.I.A. director, first when Leon E. Panetta was appointed secretary of defense and then when retired Gen. David H. Petraeus resigned over an extramarital affair with his biographer, a relationship that included his handing her classified notes of his time as America’s best-known military commander.
Mr. Morell says he first learned of the affair from Mr. Petraeus only the night before he resigned, and just as the Benghazi events were turning into a political firestorm. While praising Mr. Petraeus, who had told his deputy “I am very lucky” to run the C.I.A., Mr. Morell writes that “the organization did not feel the same way about him.” The former general “created the impression through the tone of his voice and his body language that he did not want people to disagree with him (which was not true in my own interaction with him),” he says.
But it is his account of the Benghazi attacks — and how the C.I.A. was drawn into the debate over whether the Obama White House deliberately distorted its account of the death of Ambassador J. Christopher Stevens — that is bound to attract attention, at least partly because of its relevance to the coming presidential election. The initial assessments that the C.I.A. gave to the White House said demonstrations had preceded the attack. By the time analysts reversed their opinion, Susan E. Rice, now the national security adviser, had made a series of statements on Sunday talk shows describing the initial assessment. The controversy and other comments Ms. Rice made derailed Mr. Obama’s plan to appoint her as secretary of state.
The experience prompted Mr. Morell to write that the C.I.A. should stay out of the business of preparing talking points — especially on issues that are being seized upon for “political purposes.” He is critical of the State Department for not beefing up security in Libya for its diplomats, as the C.I.A., he said, did for its employees.
But he concludes that the assault in which the ambassador was killed took place “with little or no advance planning” and “was not well organized.” He says the attackers “did not appear to be looking for Americans to harm. They appeared intent on looting and conducting some vandalism,” setting fires that killed Mr. Stevens and a security official, Sean Smith.
Mr. Morell paints a picture of an agency that was struggling, largely unsuccessfully, to understand dynamics in the Middle East and North Africa when the Arab Spring broke out in late 2011 in Tunisia. The agency’s analysts failed to see the forces of revolution coming — and then failed again, he writes, when they told Mr. Obama that the uprisings would undercut Al Qaeda by showing there was a democratic pathway to change.
“There is no good explanation for our not being able to see the pressures growing to dangerous levels across the region,” he writes. The agency had again relied too heavily “on a handful of strong leaders in the countries of concern to help us understand what was going on in the Arab street,” he says, and those leaders themselves were clueless.
Moreover, an agency that has always overvalued secretly gathered intelligence and undervalued “open source” material “was not doing enough to mine the wealth of information available through social media,” he writes. “We thought and told policy makers that this outburst of popular revolt would damage Al Qaeda by undermining the group’s narrative,” he writes.
Instead, weak governments in Egypt, and the absence of governance from Libya to Yemen, were “a boon to Islamic extremists across both the Middle East and North Africa.”
Mr. Morell is gentle about most of the politicians he dealt with — he expresses admiration for both Mr. Bush and Mr. Obama, though he accuses former Vice President Dick Cheney of deliberately implying a connection between Al Qaeda and Iraq that the C.I.A. had concluded probably did not exist. But when it comes to the events leading up to the Bush administration’s decision to go to war in Iraq, he is critical of his own agency.
Mr. Morell concludes that the Bush White House did not have to twist intelligence on Saddam Hussein’s alleged effort to rekindle the country’s work on weapons of mass destruction.
“The view that hard-liners in the Bush administration forced the intelligence community into its position on W.M.D. is just flat wrong,” he writes. “No one pushed. The analysts were already there and they had been there for years, long before Bush came to office.”
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.
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?”