umroh april 2019

Salah satu produk dari Toyota Motor Coorporation (TMC) yang masih eksis dari zaman dahulu sampai sekarang adalah Mobil Sedan Cor

Salah satu produk dari Toyota Motor Coorporation (TMC) yang masih eksis dari zaman dahulu sampai sekarang adalah Mobil Sedan Corolla, Mobil Sedan Corolla merupakan mobil terlaris didunia, sejak pertama kali diproduksi tahun 1966 sampai sekarang diusianya yang sudah 40 tahun, sudah lebih dari 40 juta unit terjual. bahkan Mobil Sedan Corolla tidak hanya diproduksi di negara asalnya Jepang namun juga Mobil Sedan Corolla diproduksi di berbagai negara seperti Amerika Serikat, Kanada, Afrika Selatan, Thailand, Inggris, Turki dan beberapa negara lainya dengan total 15 pabrik diseluruh dunia dan mencatat penjualan terbaik selama 76 tahun.

-- Mobil Sedan Corolla dari Generasi ke Geberasi --


Dari awal kelahiranya hingga sekarang, Mobil Sedan Corolla sudah terdapat beberapa generasi dari Mobil Sedan Corolla ini di berbagai masa.


1. Mobil Sedan Corolla Generasi Pertama E10 Series (1966-1970)

 

 

 



Mobil Sedan Corolla pertama kali dipasarkan dan mendulang sukses di Amerika pada tahun 1968. Mobil Sedan Corolla Generasi pertama terdiri dari beberapa varian seperti mobil kecil sederhana bermesin 2K 1100 cc yang diberi kode KE10 untuk sedan, KE15 untuk coupe, dan KE16 untuk Wagon. Model facelift yang hadir pada tahun 1969 bermesin 3K 1200 cc diberi kode KE11 untuk Sedan, KE18 untuk Wagon dan KE17 untuk Sprinter Coupe. diluar negara Jepang, negara yang pertama kali mendapatkan Mobil Sedan Corolla adalah Australia.


2. Mobil Sedan Corolla Generasi Kedua E20 Series (1971-1974)

 

 

Pada Genarasi Kedua dari Mobil Sedan Corolla ini dikenal 2 Varian yaitu KE dan TE, dengan Varian TE memiliki bentuk yang lebih sporty. Mobil Sedan Corolla Generasi kedua atau 20-series ini lebih besar dari Mobil Sedan Corolla Generasi pertama. Ini merupakan model Toyota yang sukses di seluruh dunia. Mesin yang digunakan adalah 3K (1200 cc), 3K-B (1200 cc dengan 2 karburator), T (1400 cc), 2T (1600 cc), dan 2T-G (1600 cc DOHC) berkemampuan tinggi. Pada tahun 1972, diperkenalkan model sport Corolla Levin dan Sprinter Trueno. Corolla Levin menjuarai Press on Regardless Rally di Amerika, dan 1000 Lakes Rally di Finlandia.

Di Indonesia, Corolla generasi ini yang pertama kali dijual ke pasar dengan model sedan 4 pintu bermesin 1200cc dan transmisi 4 speed manual.


3. Mobil Sedan Corolla Generasi Ketiga E30, E40, E50, E60 Series (1975-1979)

 

 

 

Mobil Sedan Corolla Generasi ketiga diantaranya adalah Corolla Sedan, Hardtop, dan Wagon berbasis 30-series, Sprinter Sedan 40-series. Corolla dan Sprinter Sports Coupe dan Liftback berbasis 50-series. Semua model yang menggunakan mesin dengan emisi rendah serta Toyota Total Clean (TTC), 60-series, model ini hanya dijual di Jepang.

 

4. Mobil Sedan Corolla Generasi Keempat E70 Series (1980-1984)

 

 

 

Mobil Sedan Corolla Generasi Keempat Ini merupakan Corolla terakhir untuk semua model yang menggunankan layout FR (berpenggerak roda belakang). Di Jepang banyak sekali varian dan bentuknya. Ada Sedan 2 dan 4 pintu, Hardtop, Coupe, Liftback, Station Wagon, dan Van. Mesin yang tersedia adalah 1300 cc 4K, 1500 cc 5K, 1600 cc 2T dan 2T-G(DOHC). Model di Amerika bermesin 2T-C(1600 cc) dan 3T-C(1800 cc) dengan bentuk body Sedan 2 pintu, 4 pintu, Coupe, Hardtop, Liftback, dan Wagon. Perusahaan karoseri di California ada yang membuat Corolla Convertible dengan atap kanvas yang bisa dibuka berbasis Corolla Hardtop.

Di Indonesia hanya tersedia dalam variant DX 4 pintu bermesin 1300 cc 4K. Platform generasi ini juga dipakai untuk Daihatsu Charmant. Corolla DX di Indonesia tahun 1980 memiliki 4 lampu depan yg berbentuk bulat, bumper masih menggunakan besi dengan karet di kedua ujungnya, pada tahun 1981 mengalami perubahan pada lampu depan jadi bentuk petak. Model tahun 1982 mempunyai perbedaan pada lampu sen depan yg melebar ke samping dan lampu belakang baru, sedangkan tahun 1983 Corolla DX hadir dengan tachometer dan bumper urethane yang panjang.


5. Mobil Sedan Corolla Generasi Kelima E80 Series (1985-1987)

 

 

Apakah yang terlintas dibenak anda kalau melihat sekilas foto mobil diatas ? yap tidak salah lagi pasti anda akan teringat salah satu anime jepang yang sangat populer "Initial D" , tepat foto Mobil Sedan Corolla diatas adalah Mobil Sedan Corolla tipe AE86 yang digunakan Takumi balapan digunung akina yang merupakan Mobil Sedan Corolla generasi kelima.

 

Pada Mobil Sedan Corolla Generasi kelima ini Hanya model sport Corolla Levin dan Sprinter Trueno yang berpenggerak roda belakang, model yang lain berpenggerak roda depan. Sprinter Trueno dijual di Amerika sebagai Corolla SR5 dan GT-S. AE86 adalah kode untuk Levin dan Trueno bermesin kemampuan tinggi 4A-GE(1600 cc DOHC), yaitu GT, GT-S, GT-V, dan APEX. AE86 sangat popular dengan sebutan Hachiroku, yang berasal dari Bahasa Jepang, hachi = 8, dan roku = 6.

Di Indonesia, Corolla generasi ini yang dipasarkan secara resmi hadir dalam versi GL (AE80) dengan mesin 2A 1300 cc dan versi facelift SE Saloon (EE80) dengan mesin 2E 1300 cc. 

 

6. Mobil Sedan Corolla Generasi Keenam E90 Series (1988-1992)

 

 

 

 

Mulai generasi ini kebanyakan Mobil Sedan Corolla sudah bermesin Twincam 4A-F (Head sempit) atau 4A-G( Head lebar) dengan karburator atau injection. Mesin bensin 1300 cc dengan karburator dan diesel dipasang pada Corolla Sedan versi murah serta Station Wagon dan Van. Corolla Sedan juga dibuat dalam versi mewah yaitu SE Limited untuk Asia yang hampir sama dengan LE di Amerika. Mobil Sedan Corolla versi Amerika memiliki bumper yang lebih panjang dibanding versi untuk region lainnya, serta lampu indikator merah di fender belakang. Corolla GTi yang sporty dengan mesin 4A-GE dibuat dalam bentuk Hatchback, Sedan, dan Liftback.

Di Jepang, model sports coupe Corolla Levin dan Sprinter Trueno ada yang menggunakan mesin 4A-GZE dengan Supercharger. Corolla Coupe untuk Amerika sebenarnya adalah Sprinter Trueno dengan lampu depan retractable. Tersedia dalam 2 pilihan yaitu SR5 dan GT-S.

Corolla All-Trac Wagon yang memiliki body berbeda dengan Wagon biasa berbasis pada Sprinter Carib di Jepang. Mobil berkode AE95 ini merupakan model pertama Mobil Sedan Corolla generasi keenam yang dijual di Australia pada tahun 1988. Corolla AE90 dan AE92 dalam bentuk Sedan, Hatchback, serta AE92 Liftback yang disebut Seca baru hadir pada tahun 1989.


Di Indonesia, model Mobil Sedan Corolla ini dikenal dengan nama Corolla Twincam, meskipun yang 1300 cc bermesin single cam (SOHC).

Tersedia 4 tipe yang resmi dipasarkan oleh Toyota Astra Motor:

  1. 1.3 SE sedan, mesin 2E (72 hp -6000 rpm)
  2. 1.6 SE Limited sedan, mesin 4A-F (94 hp - 6000 rpm, 12,9 kgm - 4000 rpm)
  3. 1.6 GTi sedan, mesin 4A-GE (140 hp - 7200 rpm; 15 kgm - 6000 rpm)
  4. 1.6 Liftback 5-door, mesin 4A-F (94 hp - 6000 rpm, 12.9 kgm - 4000 rpm)

 7. Mobil Sedan Corolla Generasi Ketujuh E100 Series (1992-1997)

 


Diluncurkan di Jepang pada pertengahan tahun 1991 dengan mesin 1300 cc 4E, 1500 cc 5E, 1600 cc 4A, dan 2000 cc diesel 2C. Model Sedan  dan Coupe diproduksi sampai tahun 1995, sedangkan model Station Wagon dan Van tetap dibuat sampai tahun 2000.

Disebut Great Corolla di Indonesia dengan model SE menggunakan mesin 2E 1300 cc dan SE-G dengan mesin 4A-FE 1600 cc. 1.3 SE digantikan oleh 1.6 SE pada tahun 1994.

Model baru untuk tahun 1993 di Amerika dengan model Standard, DX, and LE Sedan, serta DX Station Wagon. Model standard bermesin 4A-FE(1600 cc), DX dan LE menggunakan mesin 7A-FE(1800 cc). Untuk tahun 1996, Mobil Sedan Corolla versi Amerika mendapat facelift dan semua model di produksi di Amerika. Model LE and Station Wagon yang di import dari Jepang tidak dijual lagi. Mobil Sedan Corolla CE (Classic Edition) mulai dipasarkan.

Di Australia, Mobil Sedan Corolla generasi ini diluncurkan pada tahun 1994, dan diproduksi secara lokal. Corolla Sedan terdiri dari model 1.6 CSi, 1.6 CSX, 1.8 CSX Conquest, and 1.8 Ultima, sedangkan Corolla Hatchback adalah 1.6 Seca CSi, 1.8 Seca Conquest, dan 1.8 Seca RV. Hanya satu model yang di import dari Jepang yaitu Corolla Sprinter Liftback.


8. Mobil Sedan Corolla Generasi Kedelapan E110 Series (1995-2002)

 

 

 

 

Untuk generasi ini, Toyota membuat Mobil Sedan Corolla yang berbeda untuk region yang berbeda. Versi Jepang mulai dipasarkan di Jepang pada pertengahan tahun 1995, dan beberapa negara Asia, Amerika Selatan, serta Afrika pada tahun 1996. Versi Eropa untuk Eropa dan Australia hadir pada tahun 1997. Versi Amerika hanya untuk USA dan Canada baru untuk model tahun 1998. Versi Eropa hadir dengan penampilan yang sangat berbeda dengan versi untuk region lainnya. Mobil Sedan Corolla Eropa memiliki lampu depan berbentuk bulat.

Untuk di Indonesia, digunakan mesin 4A-FE (AE111 - dikenal dengan nama All New Corolla) dengan tahun edar 1996-1998 dengan variant 1.6 XLi, 1.6 SE-G, dan 1.6 S-Cruise. Model facelift bermesin 7A-FE (AE112) dengan tahun edar 1998-2001 tersedia dalam variant 1.8 XLi dan 1.8 SE-G.

Output mesin : 4A-FE : 115 hp - 6000 rpm, torsi 15 kgm - 4800 rpm. 7A-FE : 120 hp - 6000 rpm, torsi 16 kgm - 4400 rpm. Kedua mesin ini memakai teknologi Twincam 16 valve EFI

Corolla AE112 atau dikenal dengan nama New Corolla ini merupakan sedan dengan fitur terlengkap dan termewah di kelasnya saat itu. Dilengkapi dengan ABS, dual airbag, variable timing wiper, dan sebagainya.


9. Mobil Sedan Corolla Generasi Kesembilan E120, E130 Series (2000-2006)

 

 


Pada Mobil Sedan Corolla Generasi Kesembilan ini, Dimensi lebih besar dari generasi sebelumnya. Ada 2 macam body untuk Sedan 4-pintu, yaitu versi Jepang yang juga dijual di Eropa dan Australia, dan Corolla Altis yang lebih besar untuk Asia Tenggara dan Amerika. Model Station Wagon disebut Corolla Fielder di Jepang, dan juga diekspor ke Australia dan Eropa.

Di Amerika, Corolla Sedan dipasarkan dalam trim level CE, S, LE, dan XRS. CE, S, dan LE bermesin 1ZZ-FE VVT-i, ZRS menggunakan mesin 2ZZ-GE VVTL-i. Corolla Matrix yang berbentuk crossover Wagon / SUV dibuat hanya untuk pasar Amerika.

Di Eropa, Corolla Hatchback 3 dan 5 pintu lebih popular dibanding Sedan dan Wagon. Juga ada Hatchback berkemampuan tinggi T-Sport bermesin 2ZZ-GE. Corolla Hatchback 5 pintu dijual di Australia dengan nama Corolla Seca, dan tersedia dalam versi Ascent, Ascent Sport, Conquest, Levin, dan Sportivo. Levin adalah versi mewah dan sporty dengan body kit, bukan coupe seperti Levin terdahulu. Sportivo adalah model berkemampuan tinggi yang sama dengan T-Sport. Mobil Sedan Corolla Sedan di Australia dipasarkan dalam versi Ascent, Conquest, dan Ultima.

Mobil Sedan Corolla Altis di Indonesia dimulai tahun 2001 sampai sekarang dan telah mengalami beberapa kali perubahan 2001-2003 : generasi 1 Altis di Indonesia. mesin 1ZZ-FE non VVT-i (128 hp - 6000 rpm, 16,3 kgm - 4400 rpm) SAE NET. Dirakit secara terurai (CKD) dari Thailand. 2004-2005 : generasi 2 Altis di Indonesia, mesin 1ZZ-FE VVT-i (136 hp - 6000 rpm, 17,4 kgm - 4200 rpm) SAE NET. Untuk versi A/T telah dilengkapi Super ECT. Mulai tipe ini dan selanjutnya diimpor secara utuh (CBU) dari Thailand. 2006-sekarang : generasi 3 Altis, dengan penambahan fitur-fitur seperti MID, Audio control di stir, dll.

 

10. Mobil Sedan Corolla Generasi Kesepuluh E140, E150 Series (2006-Sekarang)


 

 

 

 


Mobil Sedan Corolla terbaru yang disebut Corolla Axio, dan Station Wagon Corolla Fielder diluncurkan di Jepang pada akhir tahun 2006. Model Hatchback bernama Auris, dan yang lebih exclusive adalah Blade. Axio, Fielder, dan Auris bermesin 1.5 liter VVT-i 1NZ-FE, atau mesin baru 1.8 liter Dual VVT-i 2ZR-FE. Blade menggunakan mesin 2.4 liter VVT-i 2AZ-FE.

Corolla untuk Amerika model tahun 2009 dipasarkan mulai awal tahun 2008 dengan model Standard (paling murah), LE (menengah), S (sporty), XLE (mewah), dan XRS (sport berkemampuan tinggi). Corolla XRS menggunakan mesin 2400 cc, sedangkan model lainnya 1800 cc.

Untuk pasar di negara besar Eropa, Corolla digantikan oleh Auris. Auris berbentuk Hatchback 3 dan 5 pintu. Mesin yang digunakan adalah 1.4 dan 1.6 liter bensin, serta 2.0 dan 2.2 liter common rail diesel. Versi termahal adalah T180 yang bermesin 2.2 liter diesel. Mobil Sedan Corolla  hanya dipasarkan di Irlandia and beberapa negara Eropa saja.

 

 

Di Australia, baik model Sedan maupun Hatchback tetap menggunakan nama Corolla. Trim level untuk Mobil Sedan Corolla sama seperti generasi sebelumnya. Corolla Hatchback versi Australia sama dengan Auris, dan tersedia dalam trim level Ascent, Conquest, Sportivo SX, dan Sportivo ZR.

Di Indonesia, Mobil Sedan Corolla terbaru ini diluncurkan pada 28 Februari 2008 dengan 3 grade, yaitu : 1.8 V A/T, 1.8 G A/T, dan 1.8 J M/T. Mesin yang digunakan tetap mesin 1ZZ-FE 1800 cc VVT-i 16 valve dengan mematuhi aturan emisi yang lebih ketat (EURO III). dilengkapi 4 speed A/T triptronic transmission dan 5 speed M/T; Fitur cruise control dapat ditemukan di 1.8 V A/T. Pada tahun 2009, Corolla dengan grade V mendapat mesin baru 3ZR-FE 2000 cc dengan Dual VVT-i, sedangkan model lainnya tetap menggunakan mesin 1800 cc.

 

 


Mobil Sedan Corolla Altis versi facelift diperkenalkan pada 2010 Indonesia International Motor Show. Semua model hadir dengan bumper, grille, dan lampu belakang baru. Model 1.8 E and 1.8 G hadir dengan mesin baru 2ZR-FE Dual VVT-i. Transmisi untuk 1.8 E adalah 6 speed manual, sedangkan 1.8 G menggunakan 5 speed CVT automatic.


-- Keuntungan dan Kelebihan Mobil Sedan Corolla --

  1. Perawatan Yang Mudah
  2. Harga Jual Kembali Yang Tinggi
  3. Mudah Dimodifikasi
  4. Komponen yang Mudah Didapat
  5. Tidak Mudah Rewel dan Bandel
  6. Gaya dan Cocok untuk semua kalangan

Dengan banyaknya populasi Mobil Sedan Corolla serta banyaknya komunitas dari Mobil Sedan Corolla diseluruh dunia, membuat Mobil Sedan Corolla memiliki harga jual yang tinggi karena banyaknya orang yang ingin memiliki mobil klasik yang bandel dengan kualitas yang sudah teruji selama dua dekade lebih. selain itu hal ini menyebababkan tidak sulitnya untuk mendapatkan berbagai komponen dan onderdil dari Mobil Sedan Corolla ini, dengan mesin yang bandel, tidak mudah rewel serta perawatan yang mudah, Mobil Sedan Corolla layak untuk dijadikan pilihan.

 

 

Di antara banyaknya penyanyi tanah air, nama Tulus yang disebut Raisa sebagai musisi favoritnya. Selain telah memiliki suara yang merdu, baginya, Tulus juga merupakan musisi yang tidak lebay dan neko-neko.

Di antara banyaknya penyanyi tanah air, nama Tulus yang disebut Raisa sebagai musisi favoritnya. Selain telah memiliki suara yang merdu, baginya, Tulus juga merupakan musisi yang tidak lebay dan neko-neko.

"Dia (Tulus) juga memang musisi favorit saya. Satu tidak neko-neko, nyanyinya juga sangat enak, tapi nggak lebay. Semua yang dia lakukan dalam musik menurut saya jujur. Dan lirik-liriknya luar biasa," ungkap Raisa di Kawasan Thamrin, Jakarta Pusat.

Raisa melanjutkan, kehadiran Tulus juga mengingatkannya pada masa emas industri musik Indonesia di era 90-an. Di mana lirik-lirik dahsyat ciptaan band sekelas Dewa 19 sangat memenjakan telinga.

"Ada dia di industri musik Indonesia, orang tuh jadi kayak, 'wah masih bisa orang kayak gini. Dulu banyak banget, Sheila on 7, Dewa 19, Padi, liriknya 'gila-gila' banget. Sekarang kan sudah tidak ada," paparnya.

Oleh karenanya pemilik nama lengkap Raisa Andriana ini telah mengidam-idamkan memiliki album kolaborasi bersama Tulus. "Iya, dia salah satunya," tandasnya.

"Dia (Tulus) juga memang musisi favorit saya. Satu tidak neko-neko, nyanyinya juga sangat enak, tapi nggak lebay. Semua yang dia lakukan dalam musik menurut saya jujur. Dan lirik-liriknya luar biasa," ungkap Raisa di Kawasan Thamrin, Jakarta Pusat.

Raisa melanjutkan, kehadiran Tulus juga mengingatkannya pada masa emas industri musik Indonesia di era 90-an. Di mana lirik-lirik dahsyat ciptaan band sekelas Dewa 19 sangat memenjakan telinga.

"Ada dia di industri musik Indonesia, orang tuh jadi kayak, 'wah masih bisa orang kayak gini. Dulu banyak banget, Sheila on 7, Dewa 19, Padi, liriknya 'gila-gila' banget. Sekarang kan sudah tidak ada," paparnya.

Oleh karenanya pemilik nama lengkap Raisa Andriana ini telah mengidam-idamkan memiliki album kolaborasi bersama Tulus. "Iya, dia salah satunya," tandasnya.

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.”

 

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United’s first-class and business fliers get Rhapsody, its high-minded in-flight magazine, seen here at its office in Brooklyn. Credit Sam Hodgson for The New York Times

Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.

It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.

As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.

 

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Sean Manning, executive editor of Rhapsody, which publishes works by the likes of Joyce Carol Oates, Amy Bloom and Anthony Doerr, who won a Pulitzer Prize. Credit Sam Hodgson for The New York Times

 

An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.

Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.

“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.

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Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.

“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”

In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.

“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”

Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.

“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.

She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”

Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.

“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”

United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.

JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.

Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.

Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.

“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.

Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.

Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.

Still, some contributors say they wish the magazine were more widely circulated.

“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”

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