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Jual Sparepart Genset Perkins Murah di Minahasa Utara Kami juga menerima pembuatan box silent dan perakitan diesel generator set. Produk kami meliputi berbagai diesel generator set model open, silent lokal yang ukuranya menyesuaikan lokasi pondasi genset, mobile/ trailer . Sebagian besar mesin kami menggunakan Merk : Perkins, Cummins, Deutz, Lovol, Isuzu Foton dengan generator Leroy Somer, Stamford, kualitas terbaik brushless alternator. Jual Sparepart Genset Perkins Murah di Minahasa Utara

Jual Sparepart Genset Perkins Murah di Minahasa Utara

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Jual Sparepart Genset Cummins 175Kva Silent Open Built Up Murah di Seluma

Jual Sparepart Genset Cummins 175Kva Silent Open Built Up Murah di Seluma Hubungi : 0821 - 1310 - 3112/(021) 9224 - 2423 PT. Tribuana Diesel Adalah penjualan Generating-Set (genset) berkualitas import (builtup) bagi anda yang membutuhkan product berkualitas serta pengadaan yang cepat urgent tanpa berbelit-belit, Genset kami di lengkapi dengan dokumen Certificate Of Original , Manual book engine dan manual book generator, Kami sediakan Genset kapasitas 10 Kva - 650Kva (ANDA PESAN KAMI ANTAR). Jual Sparepart Genset Cummins 175Kva Silent Open Built Up Murah di Seluma

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

Cara Mengganti Lampu Motor Secara Aman Mengganti lampu motor dengan kapasitas watt yang lebih besar tidak dengan sendirinya a

Cara Mengganti Lampu Motor Secara Aman

Mengganti lampu motor dengan kapasitas watt yang lebih besar tidak dengan sendirinya akan menjadikan sorot lebih terang. Justru sebaliknya, umumnya lampu motor juga harus diganti dengan kapasitas watt lebih kecil untuk bisa mendapatkan nyala lebih terang. Karena terdapat resiko bohlam lampu lebih cepat putus dan mati.

Berikut tips yang perlu diketahui sebelum mengganti bohlam lampu, agar pengguna kendaraan roda dua tidak banyak mengalami kerugian.

Mengganti lampu berukuran lebih kecil

Bila kurang puas dengan nyala lampu motor Anda, sementara tak ingin mengganti dengan halogen atau xenon, maka yang perlu dilakukan adalah mengganti lampu dengan watt sedikit lebih kecil. Kapasitas lampu motor pada umumnya 35 watt. Maka gantilah dengan yang berukuran 25 watt, jangan dengan ukuran 18 watt karena terlalu jauh.

Penggantian lampu lebih kecil 10 watt itu akan dapat membuat nyala lebih terang sekitar tiga per empat kali dari nyala standarnya. Namun umur nyala lampu tersebut juga menjadi lebih pendek sekitar setengah kali dari umur rata-rata nyala lampu standar.

Mengganti lampu dengan halogen

- Pilihlah jenis lampu halogen merek bonafid bila anda ingin menggantinya. Cara untuk mengetahui merek berkelas antara lain dari kesamaan cetakan merek pada pembungkusnya dengan yang tertera di bagian tubuh bawah lampu. Selain merek, pada tubuh lampu tertera pula ukuran dan kapasitas lampu bersangkutan.

- Pada halogen berkualitas buruk, umumnya dalam tubuh lampunya tak tertera merek seperti yang ada pada pembungkusnya. Logam dan filamennyapun nampak lebih kasar dan ringkih. Terdapat beda harga hingga tiga kali lipat antara halogen imitasi dengan yang berkualitas. Penggantian halogen tak perlu mengecilkan ukuran wattnya. Karena halogen yang lebih mahal dapat memancarkan sinar 1,5 kali lebih terang dibanding lampu standar. Jangan menyentuh permukaan kaca lampu halogen kala melakukan penggantian.

- Sebab kegiatan ini dapat membuat lampu halogen menyisakan blackening (kehitaman) di permukaan kaca dalam. Itu terjadi karena begitu kaca tersentuh tangan, maka proses ionisasi dalam bohlam terganggu. Apalagi kalau kaca luar tersentuh tangan setelah lampu menyala, gejala menghitam dipastikan datang tak lama lagi.

Menganti lampu dengan xenon

Keputusan mengganti lampu dengan jenis xenon serupa dengan mengganti dengan halogen. Yang perlu diketahui adalah sifat xenon yang nyalanya lebih terang dan juga menghasilkan panas dua kali lipat dari lampu standar.

Karena itu logam tebal berkualitas harus menjadi bagian yang diperhatikan kala memilih merek xenon. Bagi motor standar penggantian dengan lampu xenon disarankan disertai dengan penggantian dudukan dan kabel yang berhubungan dengan lampu. Sebab dudukan lampu, kabel, bahkan reflektor motor standar bisa leleh karena xenon mengeluarkan panas dua kali lipat dibanding halogen.

Ketahui sistem sumber kelistrikan motor bersangkutan

Ini perlu karena berkait dengan pemilihan ukuran lampu bila memerlukan penggantian. Untuk jenis motor tertentu, seperti di antaranya Honda Tiger, Suzuki Intruder, atau sebagian motor buatan Cina, sistem kelistrikannya amat ditopang oleh aki. Karenanya lampu bisa saja diganti dengan ukuran lebih besar bila menginginkan nyala lebih terang.

Cara paling mudah mengetahui motor menggunakan sistem itu adalah kontak saja kuncinya. Kalau lampu utamanya terus menyala, berarti kendaraan itu menggunakan sistem pengontrol aki. Bila tidak, kendaraan tersebut mengandalkan sistem putaran kumparan untuk menghasilkan listriknya.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Late in April, after Native American actors walked off in disgust from the set of Adam Sandler’s latest film, a western sendup that its distributor, Netflix, has defended as being equally offensive to all, a glow of pride spread through several Native American communities.

Tantoo Cardinal, a Canadian indigenous actress who played Black Shawl in “Dances With Wolves,” recalled thinking to herself, “It’s come.” Larry Sellers, who starred as Cloud Dancing in the 1990s television show “Dr. Quinn, Medicine Woman,” thought, “It’s about time.” Jesse Wente, who is Ojibwe and directs film programming at the TIFF Bell Lightbox in Toronto, found himself encouraged and surprised. There are so few film roles for indigenous actors, he said, that walking off the set of a major production showed real mettle.

But what didn’t surprise Mr. Wente was the content of the script. According to the actors who walked off the set, the film, titled “The Ridiculous Six,” included a Native American woman who passes out and is revived after white men douse her with alcohol, and another woman squatting to urinate while lighting a peace pipe. “There’s enough history at this point to have set some expectations around these sort of Hollywood depictions,” Mr. Wente said.

The walkout prompted a rhetorical “What do you expect from an Adam Sandler film?,” and a Netflix spokesman said that in the movie, blacks, Mexicans and whites were lampooned as well. But Native American actors and critics said a broader issue was at stake. While mainstream portrayals of native peoples have, Mr. Wente said, become “incrementally better” over the decades, he and others say, they remain far from accurate and reflect a lack of opportunities for Native American performers. What’s more, as Native Americans hunger for representation on screen, critics say the absence of three-dimensional portrayals has very real off-screen consequences.

“Our people are still healing from historical trauma,” said Loren Anthony, one of the actors who walked out. “Our youth are still trying to figure out who they are, where they fit in this society. Kids are killing themselves. They’re not proud of who they are.” They also don’t, he added, see themselves on prime time television or the big screen. Netflix noted while about five people walked off the “The Ridiculous Six” set, 100 or so Native American actors and extras stayed.

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But in interviews, nearly a dozen Native American actors and film industry experts said that Mr. Sandler’s humor perpetuated decades-old negative stereotypes. Mr. Anthony said such depictions helped feed the despondency many Native Americans feel, with deadly results: Native Americans have the highest suicide rate out of all the country’s ethnicities.

The on-screen problem is twofold, Mr. Anthony and others said: There’s a paucity of roles for Native Americans — according to the Screen Actors Guild in 2008 they accounted for 0.3 percent of all on-screen parts (those figures have yet to be updated), compared to about 2 percent of the general population — and Native American actors are often perceived in a narrow way.

In his Peabody Award-winning documentary “Reel Injun,” the Cree filmmaker Neil Diamond explored Hollywood depictions of Native Americans over the years, and found they fell into a few stereotypical categories: the Noble Savage, the Drunk Indian, the Mystic, the Indian Princess, the backward tribal people futilely fighting John Wayne and manifest destiny. While the 1990 film “Dances With Wolves” won praise for depicting Native Americans as fully fleshed out human beings, not all indigenous people embraced it. It was still told, critics said, from the colonialists’ point of view. In an interview, John Trudell, a Santee Sioux writer, actor (“Thunderheart”) and the former chairman of the American Indian Movement, described the film as “a story of two white people.”

“God bless ‘Dances with Wolves,’ ” Michael Horse, who played Deputy Hawk in “Twin Peaks,” said sarcastically. “Even ‘Avatar.’ Someone’s got to come save the tribal people.”

Dan Spilo, a partner at Industry Entertainment who represents Adam Beach, one of today’s most prominent Native American actors, said while typecasting dogs many minorities, it is especially intractable when it comes to Native Americans. Casting directors, he said, rarely cast them as police officers, doctors or lawyers. “There’s the belief that the Native American character should be on reservations or riding a horse,” he said.

“We don’t see ourselves,” Mr. Horse said. “We’re still an antiquated culture to them, and to the rest of the world.”

Ms. Cardinal said she was once turned down for the role of the wife of a child-abusing cop because the filmmakers felt that casting her would somehow be “too political.”

Another sore point is the long run of white actors playing American Indians, among them Burt Lancaster, Rock Hudson, Audrey Hepburn and, more recently, Johnny Depp, whose depiction of Tonto in the 2013 film “Lone Ranger,” was viewed as racist by detractors. There are, of course, exceptions. The former A&E series “Longmire,” which, as it happens, will now be on Netflix, was roundly praised for its depiction of life on a Northern Cheyenne reservation, with Lou Diamond Phillips, who is of Cherokee descent, playing a Northern Cheyenne man.

Others also point to the success of Mr. Beach, who played a Mohawk detective in “Law & Order: Special Victims Unit” and landed a starring role in the forthcoming D C Comics picture “Suicide Squad.” Mr. Beach said he had come across insulting scripts backed by people who don’t see anything wrong with them.

“I’d rather starve than do something that is offensive to my ancestral roots,” Mr. Beach said. “But I think there will always be attempts to drawn on the weakness of native people’s struggles. The savage Indian will always be the savage Indian. The white man will always be smarter and more cunning. The cavalry will always win.”

The solution, Mr. Wente, Mr. Trudell and others said, lies in getting more stories written by and starring Native Americans. But Mr. Wente noted that while independent indigenous film has blossomed in the last two decades, mainstream depictions have yet to catch up. “You have to stop expecting for Hollywood to correct it, because there seems to be no ability or desire to correct it,” Mr. Wente said.

There have been calls to boycott Netflix but, writing for Indian Country Today Media Network, which first broke news of the walk off, the filmmaker Brian Young noted that the distributor also offered a number of films by or about Native Americans.

The furor around “The Ridiculous Six” may drive more people to see it. Then one of the questions that Mr. Trudell, echoing others, had about the film will be answered: “Who the hell laughs at this stuff?”

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