Class Number to Word

Class untuk konversi angka menjadi huruf (english/indonesia) dengan menggunakan VB.Net

Public Class ClassNumToWord

'Up To 999,999,999,999,999

'English
Private sPWord1Digit_Eng As String = "| ONE| TWO| THREE| FOUR| FIVE| SIX| SEVEN| EIGHT| NINE"
Private sPWord2DigitFrom10To19_Eng As String = "| TEN| ELEVEN| TWELVE| THIRTEEN| FOURTEEN| FIFTEEN | SIXTEEN| SEVENTEEN| EIGHTEEN| NINETEEN"
Private sPWord2DigitFrom20To99_Eng As String = "|| TWENTY| THIRTY| FOURTY| FIFTY| SIXTY| SEVENTY| EIGHTY| NINETY"

'Indonesian
Private sPWordFrom1To11_Ind As String = "| SATU| DUA| TIGA| EMPAT| LIMA| ENAM| TUJUH| DELAPAN| SEMBILAN"

Public Function Wording(ByVal sValue As String) As String

Dim result As String = ""
Dim iValue As Int64 = Convert.ToInt64(sValue)

If iValue > 999999999999999 Then

result = "OVERFLOW"

Else

Dim aPWord1Digit_Eng() As String = sPWord1Digit_Eng.Split("|")

If iValue >= 0 And iValue <= 9 Then

result = aPWord1Digit_Eng(iValue).ToString

ElseIf iValue > 9 And iValue <= 99 Then

result = sWord2Digit(sValue)

ElseIf iValue > 99 And iValue <= 999 Then

result = sWord3Digit(sValue)

ElseIf iValue > 999 And iValue <= 9999 Then

Dim sValue3Digit As String = Mid(sValue, 2, 3)

result = aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " THOUSAND" & _
IIf(sValue3Digit = "000", "", sWord3Digit(sValue3Digit))

ElseIf iValue > 9999 And iValue <= 99999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit As String = Mid(sValue, 3, 3)

result = sWord2Digit(sValue2Digit) & " THOUSAND" & _
IIf(sValue3Digit = "000", "", sWord3Digit(sValue3Digit))

ElseIf iValue > 99999 And iValue <= 999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)

result = sWord3Digit(sValue3Digit1) & " THOUSAND" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2))

ElseIf iValue > 999999 And iValue <= 9999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)

result = aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " MILLION" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1) & " THOUSAND") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2))

ElseIf iValue > 9999999 And iValue <= 99999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)

result = sWord2Digit(sValue2Digit) & " MILLION" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1) & " THOUSAND") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2))

ElseIf iValue > 99999999 And iValue <= 999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)

result = sWord3Digit(sValue3Digit1) & " MILLION" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " THOUSAND") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3))

ElseIf iValue > 999999999 And iValue <= 9999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)
Dim sValue3Digit3 As String = Mid(sValue, 8, 3)

result = aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " BILLION" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " MILLION") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " THOUSAND") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3))

ElseIf iValue > 9999999999 And iValue <= 99999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)
Dim sValue3Digit3 As String = Mid(sValue, 9, 3)

result = sWord2Digit(sValue2Digit) & " BILLION" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " MILLION") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " THOUSAND") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3))

ElseIf iValue > 99999999999 And iValue <= 999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)
Dim sValue3Digit4 As String = Mid(sValue, 10, 3)

result = sWord3Digit(sValue3Digit1) & " BILLION" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " MILLION") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3) & " THOUSAND") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4))

ElseIf iValue > 999999999999 And iValue <= 9999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)
Dim sValue3Digit3 As String = Mid(sValue, 8, 3)
Dim sValue3Digit4 As String = Mid(sValue, 11, 3)

result = aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " TRILLION" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1) & " BILLION") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " MILLION") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3) & " THOUSAND") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4))

ElseIf iValue > 9999999999999 And iValue <= 99999999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)
Dim sValue3Digit3 As String = Mid(sValue, 9, 3)
Dim sValue3Digit4 As String = Mid(sValue, 12, 3)

result = sWord2Digit(sValue2Digit) & " TRILLION" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1) & " BILLION") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " MILLION") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3) & " THOUSAND") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4))

ElseIf iValue > 99999999999999 And iValue <= 999999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)
Dim sValue3Digit4 As String = Mid(sValue, 10, 3)
Dim sValue3Digit5 As String = Mid(sValue, 13, 3)

result = sWord3Digit(sValue3Digit1) & " TRILLION" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2) & " BILLION") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3) & " MILLION") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4) & " THOUSAND") & _
IIf(sValue3Digit5 = "000", "", sWord3Digit(sValue3Digit5))

End If

End If

Return result

End Function

Public Function Wording(ByVal sValue As String, ByVal bIndonesian As Boolean) As String

Dim result As String = ""

If bIndonesian = False Then

result = Wording(sValue)

Else

Dim iValue As Int64 = Convert.ToInt64(sValue)

If iValue > 999999999999999 Then

result = "OVERFLOW"

Else

Dim aPWordFrom1To11_Ind() As String = sPWordFrom1To11_Ind.Split("|")

If iValue >= 0 And iValue <= 9 Then

result = aPWordFrom1To11_Ind(iValue).ToString

ElseIf iValue > 9 And iValue <= 99 Then

result = sWord2Digit(sValue, True)

ElseIf iValue > 99 And iValue <= 999 Then

result = sWord3Digit(sValue, True)

ElseIf iValue > 999 And iValue <= 9999 Then

result = sWord4Digit(sValue)

ElseIf iValue > 9999 And iValue <= 99999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit As String = Mid(sValue, 3, 3)

result = sWord2Digit(sValue2Digit, True) & " RIBU" & _
IIf(sValue3Digit = "000", "", sWord3Digit(sValue3Digit, True))

ElseIf iValue > 99999 And iValue <= 999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)

result = sWord3Digit(sValue3Digit1, True) & " RIBU" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True))

ElseIf iValue > 999999 And iValue <= 9999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)


result = aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " JUTA" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1, True) & " RIBU") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True))

ElseIf iValue > 9999999 And iValue <= 99999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)

result = sWord2Digit(sValue2Digit, True) & " JUTA" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1, True) & " RIBU") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True))

ElseIf iValue > 99999999 And iValue <= 999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)

result = sWord3Digit(sValue3Digit1, True) & " JUTA" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " RIBU") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True))

ElseIf iValue > 999999999 And iValue <= 9999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)
Dim sValue3Digit3 As String = Mid(sValue, 8, 3)

result = aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " MILIYAR" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " JUTA") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " RIBU") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True))

ElseIf iValue > 9999999999 And iValue <= 99999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)
Dim sValue3Digit3 As String = Mid(sValue, 9, 3)

result = sWord2Digit(sValue2Digit, True) & " MILIYAR" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " JUTA") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " RIBU") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True))

ElseIf iValue > 99999999999 And iValue <= 999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)
Dim sValue3Digit4 As String = Mid(sValue, 10, 3)

result = sWord3Digit(sValue3Digit1, True) & " MILIYAR" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " JUTA") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True) & " RIBU") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4, True))

ElseIf iValue > 999999999999 And iValue <= 9999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 2, 3)
Dim sValue3Digit2 As String = Mid(sValue, 5, 3)
Dim sValue3Digit3 As String = Mid(sValue, 8, 3)
Dim sValue3Digit4 As String = Mid(sValue, 11, 3)

result = aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & " TRILIYUN" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1, True) & " MILIYAR") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " JUTA") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True) & " RIBU") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4, True))

ElseIf iValue > 9999999999999 And iValue <= 99999999999999 Then

Dim sValue2Digit As String = Mid(sValue, 1, 2)
Dim sValue3Digit1 As String = Mid(sValue, 3, 3)
Dim sValue3Digit2 As String = Mid(sValue, 6, 3)
Dim sValue3Digit3 As String = Mid(sValue, 9, 3)
Dim sValue3Digit4 As String = Mid(sValue, 12, 3)

result = sWord2Digit(sValue2Digit, True) & " TRILIYUN" & _
IIf(sValue3Digit1 = "000", "", sWord3Digit(sValue3Digit1, True) & " MILIYAR") & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " JUTA") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True) & " RIBU") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4, True))

ElseIf iValue > 99999999999999 And iValue <= 999999999999999 Then

Dim sValue3Digit1 As String = Mid(sValue, 1, 3)
Dim sValue3Digit2 As String = Mid(sValue, 4, 3)
Dim sValue3Digit3 As String = Mid(sValue, 7, 3)
Dim sValue3Digit4 As String = Mid(sValue, 10, 3)
Dim sValue3Digit5 As String = Mid(sValue, 13, 3)

result = sWord3Digit(sValue3Digit1, True) & " TRILIYUN" & _
IIf(sValue3Digit2 = "000", "", sWord3Digit(sValue3Digit2, True) & " MILIYAR") & _
IIf(sValue3Digit3 = "000", "", sWord3Digit(sValue3Digit3, True) & " JUTA") & _
IIf(sValue3Digit4 = "000", "", sWord3Digit(sValue3Digit4, True) & " RIBU") & _
IIf(sValue3Digit5 = "000", "", sWord3Digit(sValue3Digit5, True))


End If

End If

End If

Return result

End Function

Private Function sWord3Digit(ByVal sValue As String) As String

Dim result As String = ""
Dim aPWord1Digit_Eng() As String = sPWord1Digit_Eng.Split("|")
Dim sValueLast2Digit As String = Mid(sValue, 2, 2)

result = aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & _
IIf(Mid(sValue, 1, 2) = "00" Or Mid(sValue, 1, 1) = "0", "", " HUNDRED") & _
sWord2Digit(sValueLast2Digit)

Return result

End Function

Private Function sWord2Digit(ByVal sValue As String) As String

Dim result As String = ""
Dim aPWord1Digit_Eng() As String = sPWord1Digit_Eng.Split("|")
Dim iValue As Int64 = Convert.ToInt64(sValue)

If iValue > 9 And iValue <= 19 Then

Dim aPWord2Digit10To19_Eng() As String = sPWord2DigitFrom10To19_Eng.Split("|")
result = aPWord2Digit10To19_Eng(iValue - 9).ToString

Else

Dim aPWord2Digit20To99_Eng() As String = sPWord2DigitFrom20To99_Eng.Split("|")
result = aPWord2Digit20To99_Eng(Convert.ToInt16(Mid(sValue, 1, 1))).ToString & _
aPWord1Digit_Eng(Convert.ToInt16(Mid(sValue, 2, 1))).ToString

End If

Return result

End Function


Private Function sWord2Digit(ByVal sValue As String, ByVal bIndonesian As Boolean) As String

Dim result As String = ""

If bIndonesian = True Then

Dim aPWordFrom1To11_Ind() As String = sPWordFrom1To11_Ind.Split("|")
Dim iValue As Int64 = Convert.ToInt64(sValue)

If iValue = 10 Then

result = " SEPULUH"

ElseIf iValue = 11 Then

result = " SEBELAS"

ElseIf iValue > 11 And iValue <= 19 Then

result = aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 2, 1))) & " BELAS"

Else

result = aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 1, 1))) & _
IIf(Mid(sValue, 1, 1) = "0", "", " PULUH") & _
aPWordFrom1To11_Ind(Convert.ToInt16(Mid(sValue, 2, 1)))

End If

End If

Return result

End Function

Private Function sWord3Digit(ByVal sValue As String, ByVal bIndonesian As Boolean) As String

Dim result As String = ""

If bIndonesian = True Then

Dim aPWordFrom1To11_Ind() As String = sPWordFrom1To11_Ind.Split("|")
Dim sValueFirstDigit As String = Mid(sValue, 1, 1)
Dim sValueLast2Digit As String = Mid(sValue, 2, 2)

If sValueFirstDigit = "1" Then

result = " SERATUS" & sWord2Digit(sValueLast2Digit, True)

Else

Dim iValueFirstDigit As Int16 = Convert.ToInt16(sValueFirstDigit)

result = aPWordFrom1To11_Ind(iValueFirstDigit) & _
IIf(Mid(sValue, 1, 2) = "00" Or Mid(sValue, 1, 1) = "0", "", " RATUS") & _
sWord2Digit(sValueLast2Digit, True)

End If

End If

Return result

End Function

Private Function sWord4Digit(ByVal sValue As String) As String

Dim result As String = ""
Dim aPWordFrom1To11_Ind() As String = sPWordFrom1To11_Ind.Split("|")
Dim sValueFirstDigit As String = Mid(sValue, 1, 1)
Dim sValueLast3Digit As String = Mid(sValue, 2, 3)

If sValueFirstDigit = "1" Then

result = " SERIBU" & sWord3Digit(sValueLast3Digit, True)

Else

Dim iValueFirstDigit As Int16 = Convert.ToInt16(sValueFirstDigit)

result = aPWordFrom1To11_Ind(iValueFirstDigit) & _
IIf(Mid(sValue, 1, 3) = "000" Or Mid(sValue, 1, 2) = "00" Or Mid(sValue, 1, 1) = "0", "", " RIBU") & _
sWord3Digit(sValueLast3Digit, True)

End If

Return result

End Function

End Class

Kesalahan ketika Pake HP

Meskipun teknologi memudahkan aktifitas manusia, namun WHO menyimpulkan penggunaan ponsel secara terus menerus selama 5-18 tahun atau lebih, dapat menimbulkan resiko lebih tinggi terkena serangan kanker darah (leukemia) atau kanker pankreas. Seorang yang sering terkena radiasi ponsel, cepat atau lambat, dapat mengalami efek detrimental pada otak

Riset medis di Amerika Serikat menunjukan, laki - laki yang menggunakan ponsel lebih dari 4 jam sehari mengalami penurunan jumlah sel mani sebesar 40 % dibanding laku - laki yang pemakaian ponsel nya lebih rendah. Ada 6 faktor perilaku yang ternyata secara medis berpengaruh kepada si pengguna ponsel :

Mengantungkan ponsel di leher atau pinggang

Hal ini memang sudah menjadi kebiasaan yang dilakukan oleh kebanyakan orang karena terasa lebih praktis. Namun fakta medis berbicara lain. Menyimpan ponsel di sekitar area leher berbahaya bagi penderita arrhythmia atau gangguan irama jantung. Fungsi jantung menjadi tidak sempurna akibat pengaruh radiasi dari ponsel yang menggantung di sekitar dada.

Solusi : Simpan ponsel di dalam tas, dompet atau sarung dengan cara di genggam, bukan diikat pada pinggang atau digantungkan di leher.

Langsung menempelkan ponsel di telinga ketika hubungan belum tersambung

Umumnya, begitu memencet nomor yang ingin dituju, pengguna langsung menempelkan ponsel di telinga untuk mendengarkan apakah ada nada sambung. Padahal percakapan belum dimulai sedetikpun.

Solusi : ketika hubungan telepon belum tersambung, radiasi akan bertambah kuat. Beri selang beberapa waktu, sekitar 5 detik untuk kemudian mendengarkan apakah sudah tersambung.

Menempelkan ponsel ditelinga ketika menelpon

Kelemahan suara yang dihasilkan sebuah ponsel bisa jadi alasan kenapa banyak orang yang tidak memberi jarak antara telinga dan ponsel yang akan digunakan.

Solusi : Memberi jarak antara telinga dan ponsel kamu, Pilih operator dan ponsel yang mampu memberikan jaringan dan sinyal yang baik.

Melakukan percakapan terlalu lama

Tarif murah yang diberikan operator seperti memberi jalan Tol bagi user untuk tak bosan bicara ber jam - jam. Padahal jika ponsel mulai terasa panas, kamu tahu bahwa ada sesuatu yang tidak beres.

Solusi : Gunakan handsfree untuk mengurangi radiasi. Jika harus terpaksa menelpon dalam jangka waktu lama, letakan ponsel secara bergantian di kiri dan kanan telinga setiap 1-2 menit.

Bicara sambil mojok di sudut tembok, dan berbisisk - bisik saat menerima telepon

Menelpon dengan bersembunyi disudut ruangan lebih membahayakan kesehatan. Dalam kondisi umum, penutupan sinyal sudut ruangan dapat menyebabkan daya radiasi ponsel pada sudut tertentu bertambah besar.

Solusi : Usahakan untuk mencari ruangan terbuka untuk berkomunikasi via ponsel. Jangan menggunakan ponsel untuk bergosip

Menelpon sambil mondar - mandir

Tanpa kita sadari, sejumlah orang suka berjalan - jalan ketika menelpon. Padahal menggerakan ponsel ketika menelpon menyebabkan ketidak stabilan sinyal yang diterima. Kalau sudah begitu, terjadi perubahan daya tinggi dalam waktu singkat yang tidak diperlukan.

Solusi : Cari posisi yang nyaman. Berhenti dan diam ketika menelpon, karena menelpon hanya membutuhkan suara dan ponsel sebagai perantaranya. Membuat kebiasaan baru : tidak menjadi orang yang terlalu sibuk untuk sekedar bertelepon. Tidak menerima telepon sama sekali jika anda sedang melakukan perjalanan (pergerakan)

Take from anonymous source

Maya Civilization

Preclassic

While the Maya area was initially inhabited around the 10th millennium BCE, the first clearly “Maya” settlements were established in approximately 1800 BCE in Soconusco region of the Pacific Coast. This point in time, known as the Early Preclassic, was characterized by sedentary communities and the introduction of pottery and fired clay figurines.

Archaeological evidence suggests the construction of ceremonial architecture in Maya area by approximately 1000 BCE. The earliest configurations of such architecture consist of simple burial mounds, which would be the precursors to the stepped pyramids subsequently erected in the Late Preclassic. Prominent Middle and Late Preclassic settlement zones are located in the southern Maya lowlands, specifically in the Mirador and Petén Basins. Important sites in the southern Maya lowlands include Nakbe, El Mirador, Cival, and San Bartolo. In the Guatemalan Highlands Kaminal Juyú emerges around 800 BCE. For many centuries it controlled the Jade and Obsidian sources for the Petén and Pacific Lowlands. The important early sites of Izapa, Takalik Abaj and Chocolá at around 600 BCE were the main producers of Cacao. Mid-sized Maya communities also began to develop in the northern Maya lowlands during the Middle and Late Preclassic, though these lacked the size, scale, and influence of the large centers of the southern lowlands. Two important Preclassic northern sites include Komchen and Dzibilchaltun.

There is some disagreement about the boundaries which differentiate the physical and cultural extent of the early Maya and neighboring Preclassic Mesoamerican civilizations, such as the Olmec culture of the Tabasco lowlands and the Mixe-Zoque– and Zapotec–speaking peoples of Chiapas and southern Oaxaca, respectively. Many of the earliest significant inscriptions and buildings appeared in this overlapping zone, and evidence suggests that these cultures and the formative Maya influenced one another. Takalik Abaj, in the Pacific slopes of Guatemala, is the only site where Olmec and then Maya features have been found.

Classic

The Classic period (c. 250 CE–900 CE) witnessed the peak of large-scale construction and urbanism, the recording of monumental inscriptions, and a period of significant intellectual and artistic development, particularly in the southern lowland regions.They developed an agriculturally intensive, city-centered empire consisting of numerous independent city-states. This includes the well-known cities of Tikal, Palenque, Copán and Calakmul, but also the lesser known Dos Pilas, Uaxactun, Altun Ha, and Bonampak, among others. The Early Classic settlement distribution in the northern Maya lowlands is not as clearly known as the southern zone, but does include a number of population centers, such as Oxkintok, Chunchucmil, and the early occupation of Uxmal.

The most notable monuments are the stepped pyramids they built in their religious centers and the accompanying palaces of their rulers. The palace at Cancuen is the largest in the Maya area, though the site, interestingly, lacks pyramids. Other important archaeological remains include the carved stone slabs usually called stelae (the Maya called them tetun, or "tree-stones"), which depict rulers along with hieroglyphic texts describing their genealogy, military victories, and other accomplishments.

The Maya participated in long distance trade with many of the other Mesoamerican cultures, including Teotihuacan, the Zapotec and other groups in central and gulf-coast Mexico, as well as with more distant, non-Mesoamerican groups. For example the Tainos in the caribbean, also archaeologists found gold from Panama in the Sacred Cenote of Chichen Itza.Important trade goods included cacao, salt, sea shells, jade and obsidian.

Collapse

For reasons that are still debated, the Maya centers of the southern lowlands went into decline during the 8th and 9th centuries and were abandoned shortly thereafter. This decline was coupled with a cessation of monumental inscriptions and large-scale architectural construction. Although there is no universally accepted theory to explain this “collapse,” current theories fall into two categories: non-ecological and ecological.

Non-ecological theories of Maya decline are divided into several subcategories, such as overpopulation, foreign invasion, peasant revolt, and the collapse of key trade routes. Ecological hypotheses include environmental disaster, epidemic disease, and climate change. There is evidence that the Maya population exceeded carrying capacity of the environment including exhaustion of agricultural potential and overhunting of megafauna. Some scholars have recently theorized that an intense 200 year drought led to the collapse of Maya civilization. The drought theory originated from research performed by physical scientists studying lake beds,ancient pollen, and other data, not from the archaeological community.

Postclassic period

During the succeeding Postclassic period (from the 10th to the early 16th century), development in the northern centers persisted, characterized by an increasing diversity of external influences. The Maya cities of the northern lowlands in Yucatán continued to flourish for centuries more; some of the important sites in this era were Chichen Itza, Uxmal, Edzná, and Coba. After the decline of the ruling dynasties of Chichen and Uxmal, Mayapan ruled all of Yucatán until a revolt in 1450. (This city's name may be the source of the word "Maya", which had a more geographically restricted meaning in Yucatec and colonial Spanish and only grew to its current meaning in the 19th and 20th centuries). The area then degenerated into competing city-states until the Yucatán was conquered by the Spanish.

The Itza Maya, Ko'woj, and Yalain groups of Central Peten survived the "Classic Period Collapse" in small numbers and by 1250 reconstituted themselves to form competing city-states. The Itza maintained their capital at Tayasal (also known as Noh Petén), an archaeological site thought to underlay the modern city of Flores, Guatemala on Lake Petén Itzá. It ruled over an area extending across the Peten Lakes region, encompassing the community of Eckixil on Lake Quexil. The Ko'woj had their capital at Zacpeten. Postclassic Maya states also continued to survive in the southern highlands. One of the Maya kingdoms in this area, the K'iche', is responsible for the best-known Maya work of historiography and mythology, the Popol Vuh. Other highland kingdoms included the Mam based at Huehuetenango, the Kaqchikels based at Iximché and the Chuj, based at San Mateo Ixtatán. The Poqomam possibly had their capital at Mixco Viejo.

Colonial Period

Shortly after their first expeditions to the region, the Spanish initiated a number of attempts to subjugate the Maya and establish a colonial presence in the Maya territories of the Yucatán Peninsula and the Guatemalan highlands. This campaign, sometimes termed "The Spanish Conquest of Yucatán," would prove to be a lengthy and dangerous exercise for the conquistadores from the outset, and it would take some 170 years before the Spanish established substantive control over all Maya lands.

Unlike the Spanish campaigns against the Aztec and Inca Empires, there was no single Maya political center which once overthrown would hasten the end of collective resistance from the indigenous peoples. Instead, the conquistador forces needed to subdue the numerous independent Maya polities almost one by one, many of which kept up a fierce resistance. Most of the conquistadores were motivated by the prospects of the great wealth to be had from the seizure of precious metal resources such as gold or silver; however, the Maya lands themselves were poor in these resources. This would become another factor in forestalling Spanish designs of conquest, as they instead were initially attracted to the reports of great riches in central Mexico or Peru.

The last Maya states, the Itza polity of Tayasal and the Ko'woj city of Zacpeten, were continuously occupied and remained independent of the Spanish until late in the 17th century. They were finally subdued by the Spanish in 1697.

Taken from wikipedia

Majapahit

After defeating Srivijaya in Sumatra in 1290, Singhasari became the most powerful kingdom in the area. Kublai Khan, the ruler of the Chinese Yuan Dynasty, challenged Singhasari by sending emissaries demanding tribute. Kertanegara, the last ruler of Singhasari, refused to pay the tribute. In 1293, Kublai Khan sent a massive expedition of 1,000 ships to Java.

By that time, Jayakatwang, the Adipati (Duke) of Kediri, a vassal state of Singhasari, had usurped and killed Kertanagara. After being pardoned by Jayakatwang with the aid of Madura's regent, Arya Wiraraja; Raden Wijaya, Kertanegara's son-in-law, was given the land of Tarik timberland. He then opened that vast timberland and built a new village there. The village was named Majapahit, which was taken from a fruit name that had bitter taste in that timberland (maja is the fruit name and pahit means bitter). When Mongolian Yuan army sent by Kublai Khan arrived, Wijaya allied himself with the army to fight against Jayakatwang. Once Jayakatwang was destroyed, Raden Wijaya forced his allies to withdraw from Java by launching a surprise attack. Yuan's army had to withdraw in confusion as they were in hostile territory. It was also their last chance to catch the monsoon winds home; otherwise, they would have had to wait for another six months on a hostile island.

In AD 1293, Raden Wijaya founded a stronghold with the capital Majapahit. The exact date used as the birth of the Majapahit kingdom is the day of his coronation, the 15th of Kartika month in the year 1215 using the Javanese çaka calendar, which equates to November 10, 1293. During his coronation he was given formal name Kertarajasa Jayawardhana. The new kingdom faced challenges. Some of Kertarajasa's most trusted men, including Ranggalawe, Sora, and Nambi rebelled against him, though unsuccessfully. It was suspected that the mahapati (equal with prime minister) Halayudha set the conspiracy to overthrow all of the king's opponents, to gain the highest position in the government. However, after following the death of the last rebel Kuti, Halayudha was captured and jailed for his tricks, and then sentenced to death. Wijaya himself died in AD 1309.

Wijaya's son and successor, Jayanegara was notorious for immorality. One of his sinful acts was taking his own stepsisters as wives. He was entitled Kala Gemet, or "weak villain". In AD 1328, Jayanegara was murdered by his doctor, Tantja. His stepmother, Gayatri Rajapatni, was supposed to replace him, but Rajapatni retired from court to become a bhiksuni (a female Buddhist monk) in a monastery. Rajapatni appointed her daughter, Tribhuwana Wijayatunggadewi, or known in her formal name as Tribhuwannottungadewi Jayawishnuwardhani, as the queen of Majapahit under Rajapatni's auspices. During Tribhuwana’s rule, the Majapahit kingdom grew much larger and became famous in the area. Tribhuwana ruled Majapahit until the death of her mother in AD 1350. She was succeeded by her son, Hayam Wuruk.

Golden Age

Hayam Wuruk, also known as Rajasanagara, ruled Majapahit in AD 1350–1389. During his period, Majapahit attained its peak with the help of his prime minister, Gajah Mada. Under Gajah Mada's command (AD 1313–1364), Majapahit conquered more territories. In 1377, a few years after Gajah Mada's death, Majapahit sent a punitive naval attack against Palembang, contributing to the end of the Srivijayan kingdom. Gajah Mada's other renowned general was Adityawarman, known for his conquest in Minangkabau.

According to the book of Nagarakertagama pupuh (canto) XIII and XIV mentioned several states in Sumatra, Malay Peninsula, Borneo, Sulawesi, Nusa Tenggara islands, Maluku, New Guinea, and some parts of Philippines islands as under Majapahit realm of power. This source mentioned of Majapahit expansions has marked the greatest extent of Majapahit empire.

The Nagarakertagama, written in 1365 depict a sophisticated court with refined taste in art and literature, and a complex system of religious rituals. The poet describes Majapahit as the centre of a huge mandala extending from New Guinea and Maluku to Sumatra and Malay Peninsula. Local traditions in many parts of Indonesia retain accounts in more or less legendary from 14th century Majapahit's power. Majapahit's direct administration did not extend beyond east Java and Bali, but challenges to Majapahit's claim to overlordship in outer islands drew forceful responses.

The nature of the Majapahit empire and its extent is subject to debate. It may have had limited or entirely notional influence over some of the tributary states in included Sumatra, the Malay Peninsula, Kalimantan and eastern Indonesia over which of authority was claimed in the Nagarakertagama. Geographical and economic constraints suggest that rather than a regular centralised authority, the outer states were most likely to have been connected mainly by trade connections, which was probably a royal monopoly. It also claimed relationships with Champa, Cambodia, Siam, southern Burma, and Vietnam, and even sent missions to China.

Although the Majapahit rulers extended their power over other islands and destroyed neighboring kingdoms, their focus seems to have been on controlling and gaining a larger share of the commercial trade that passed through the archipelago. About the time Majapahit was founded, Muslim traders and proselytizers began entering the area.

Decline

Following Hayam Wuruk's death AD 1389, Majapahit power entered a period of decline with conflict over succession. Hayam Wuruk was succeeded by the crown princess Kusumawardhani, who married a relative, Prince Wikramawardhana. Hayam Wuruk also had a son from his previous marriage, crown prince Wirabhumi, who also claimed the throne. A civil war, called Paregreg, is thought to have occurred from 1405 to 1406, of which Wikramawardhana was victorious and Wirabhumi was caught and decapitated. Wikramawardhana ruled to 1426 AD and was succeeded by his daughter Suhita, who ruled from 1426 to 1447 AD. She was the second child of Wikramawarddhana by a concubine who was the daughter of Wirabhumi.

In 1447, Suhita died and was succeeded by Kertawijaya, her brother. He ruled until 1451 AD. After Kertawijaya died, Bhre Pamotan became a king with formal name Rajasawardhana and ruled at Kahuripan. He died in 1453 AD. A three year kingless period was possibly the result of a succession crisis. Girisawardhana, son of Kertawijaya, came to power 1456. He died in 1466 AD and was succeeded by Singhawikramawardhana. In 1468 AD Prince Kertabhumi rebelled against Singhawikramawardhana promoting himself king of Majapahit.

Singhawikramawardhana moved the Kingdom’s capital to Daha and continued his rule until he was succeeded by his son Ranawijaya in 1474 AD. In 1478 AD he defeated Kertabhumi and reunited Majapahit as one Kingdom. Ranawijaya ruled from 1474 AD to 1519 AD with the formal name Girindrawardhana. Nevertheless, Majapahit's power had declined through these family conflicts and the growing power of the north-coastal kingdoms in Java.

Majapahit found itself unable to control the rising power of the Sultanate of Malacca. Dates for the end of the Majapahit Empire range from 1478 (that is, 1400 Saka, the ends of centuries being considered a time when changes of dynasty or courts normally ended) to 1527. The year is marked among Javanese today with candra sengkala "sirna ilang kertaning bumi" (the wealth of earth disappeared and diminished) (sirna = 0, ilang = 0, kerta = 4, bumi = 1). After a series of battles with the Sultanate of Demak, the last remaining courtsmen of Majapahit were forced to withdraw eastward to Kediri; it is unclear whether they were still under the rule of the Majapahit dynasty. This small state was finally extinguished at the hands of the Demak in 1527. A large number of courtiers, artisans, priests, and members of the royalty moved east to the island of Bali; however, the crown and the seat of government moved to Demak under the leadership of Pengeran, later Sultan Fatah. The Muslim emerging forces defeated the local Majapahit kingdom in the early 16th century.

List of Rulers

1. Raden Wijaya, styled Kertarajasa Jayawardhana (1294 - 1309)
2. Kalagamet, styled Jayanagara (1309 - 1328)
3. Sri Gitarja, styled Tribhuwana Wijayatunggadewi (1328 - 1350)
4. Hayam Wuruk, styled Sri Rajasanagara (1350 - 1389)
5. Wikramawardhana (1389 - 1429)
6. Suhita (1429 - 1447)
7. Kertawijaya, styled Brawijaya I (1447 - 1451)
8. Rajasawardhana, born Bhre Pamotan, styled Brawijaya II (1451 - 1453)
   • Interregnum (1453-1456)
9. Bhre Wengker, Purwawisesa or Girishawardhana, styled Brawijaya III (1456 - 1466)
10. Singhawikramawardhana, Pandanalas, or Suraprabhawa, styled Brawijaya IV (1466 - 1468 or 1478)
11. Kertabumi, styled Brawijaya V (1468 - 1478)
12. Girindrawardhana, styled Brawijaya VI (1478 - 1498)

Taken from wikipedia

Should Heath Ledger Be Nominated For Best Actor? No.

It was the best performance of his career (yes I think it was better than his performance in Brokeback Moutain). It was, in my opinion the single greatest performance ever given in a comic book based movie (yes, that includes Ian McKellen as Magneto in the X-Men flix). It was also one of the best all round performances of the year, so clearly and understandably many people have been talking about a possible Oscar nomination for Heath Ledger for his role as The Joker in The Dark Knight.

The thing is, most people up to this point have been talking about that possible Oscar Nomination in he context of Best SUPPORTING Actor… you know… because he was a supporting actor in the movie. But there have been some people poking their heads up to suggest that Warner Bros. should push for Ledger to be considered in the Best Actor category. A move that I contend would be both technically incorrect and an attempt to capitalize on the tragic death of Ledger.

#1 - TECHNICALLY INCORRECT

From a technically correct perspective, this has been a real issue with me for a couple of years now. To me, when you don’t have a clear definition of a category or fail to respect the categories boundaries… then that category looses all credibility and meaning. There are two categories… Best Actor and Best Supporting Actor. Sometimes a film clearly has two leads who share essentially the same screen time and number of pages. The horrible DiNero and Pacino film “Righteous Kill” would be an example of that. But in The Dark Knight, The Joker was not the lead character. Yes he stole the movie, I completely agree with that… but that doesn’t make him the lead and as such he is a supporting character.

The Academy Award for Best Supporting Actor is NOT a consolation prize. It’s not a second rate award. It is an award of excellence for those who filled roles of supporting characters. When people try to blur the lines between them I believe it degrades and demeans the category all together.

Heath Ledger is in the opening sequence of the film, but then disappears for a good amount of time before re-emerging at the mob boss meeting. He’s also missing for most of the third act of the film. NONE OF THAT DIMINISHES HIS IMPORTANCE OR HOW WELL HE PLAYED THE ROLE. It just highlights that he was not the “lead”. There is nothing wrong with that. “Best Lead Actor” does not mean better or worse than whoever is “Best Supporting Actor”. They’re just different roles that need to be played. But they are different and there are two different categories for a reason. Heath was magnificent… but The Joker was a supporting character, not the lead.

#2 - MORALLY WRONG

There were some people who charged that Warner Bros. were capitalizing on the death of Heath Ledger because of how they were marketing The Dark Knight. I firmly disagreed with them on this charge. I actually believe that Warner showed great class in how they handled the tragic passing of Ledger and didn’t feel they, in any way, attempted to cash in on the news of his death. I was afraid we’d see commercials and billboards proclaiming “See Heath Ledgers’ final complete performance… yadda yadda yadda”, but they never came. If anything they underplayed it and I believe they deserve much credit for that.

However, should WB make a move to push Ledger into LEAD Actor consideration, I think they’d erase all of that. In my opinion it would be nothing short of a stab at pulling money out of a dead man’s wallet, trying to capitalize on the buzz and tragedy all to gain higher exposure for their film. No one understand that business is business better than I do… and I don’t fault a studio trying to discover ways to make more money… but to me this would be such an overtly slime move that I’d recoil.

It should be mentioned that WB has not said that they’d push for a best LEAD nomination for Ledger at this point. That’s just what some pundits out there are speculating… but you know they’re considering it. And considering is fine… just don’t do it. It would be both the technically and morally incorrect thing to do.

For an opposite point of view with some good thoughts, check out the article over at In Contention.

Taken from themovieblog

Mengapa Kita Tak Lagi Membuat Film Superhero?

I

JIKA Anda rajin berselancar ke forum-forum tentang film di situs-situs macam Kaskus, Ruang Film, dan sejenisnya, Anda akan ketemu kabar seperti ini: Gundala, sang tokoh komik legendaris itu, akan segera dibuat versi filmnya. Kabar ini bermula dari kehadiran situs bernama www.gundalathemovie.com.[1] Situs ini memasang poster film dengan judul pendek: GUNDALA. Di poster itu terlihat sosok Gundala dengan latar belakang gedung-gedung Jakarta. Di bawah posternya, ada susunan kru dan pemain, serta sinopsis pendek. Film ini akan diproduksi Bumi Langit Pictures

Komentar yang bertebaran di forum-forum Internet menyambut baik kehadiran Gundala versi film. Mereka yang sudah gerah disuguhi film-film horor di bioskop mengharap betul kehadiran film ini. Tapi, apa iya film ini benar-benar ada dan akan edar Juni tahun depan seperrti disebutkan situs itu?

Nanti saja dijawabnya. Yang pasti, film superhero bukanlah hal baru buat jagad sinema kita. Ya, sineas negeri ini pernah membuat film superhero, film yang bertema pahlawan berkekuatan super macam Superman atau Spider-Man. Pada 1974, sineas kita melahirkan Rama Superman Indonesia (Frans Totok). Judulnya sudah bercerita film ini berkisah tentang apa dan siapa. Tapi tak ada salahnya dikisahkan kembali. Alkisah, Andi (Boy Shahlani) seorang penjaja koran yang mendapat jimat kupu-kupu emas. Bila jimat itu dicium, ia bisa berubah jadi superhero yang bisa terbang, berkostum bak Superman, bernama Rama (diperankan August Melasz). Rama sering membantu orang yang kesusahan hingga jadi berita di koran. Kemudian, film mengisahkan pertautan Rama dengan wanita bernama Lia (Jenny Rachman), putri Profesor Hartoyo (Djauhari Effendi). Sang profesor jadi incaran komplotan penjahat Naga Hitam lantaran formula temuannya, yang bisa membuat bahan peledak berkekuatan sangat tinggi. Usaha merebut formula itu selalu digagalkan Rama. Karena gagal, Lia diculik. Rama muncul menyelesaikan masalah.[2]

Selang tujuh tahun kemudian giliran lahir Gundala Putra Petir (1981, Lilik Sudijo) dari tangan sineas kita. Kisahnya seputar Sancoko (Teddy Purba), seorang ilmuwan bergelar insinyur, berubah jadi Gundala, sang pahlawan berkekuatan super. Awalnya, Sancoko diam-diam menyuntikkan cairan anti petir. Hasilnya luar biasa. Tubuhnya jadi tahan terhadap arus listrik dan punya kekuatan luar biasa hal ini juga berkat bimbingan gurunya, Dewa Petir (Pitrajaya Burnama). Kehebatan Sancoko sampai ke telinga Gasul (WD Mochtar), seorang gembong narkotik. Bersama beberapa kawannya Gasul menculik Sancoko, memintanya menciptakan ramuan heroin sintetis. Minarti (Anna Tarias), tunangan Sancoko, dan Prof. Saelan (Ami Prijono) ikut diculik. Sancoko tetap bungkam dan menolak permintaan kawanan penjahat itu. Belakangan diketahui, dalang kejahatan itu Ir. Agus (August Melasz) rekan Sancoko sendiri.[3]

Rama Superman Indonesia lahir empat tahun lebih dulu dari film Superman (1978) karya Richard Donner yang mempopulerkan Christopher Reeve sebagai Superman. Di Amerika sana, Superman versi layar lebar hadir menandai era kebangkitan film-film superhero. Sebelumnya, genre ini kurang dilirik sineas Amerika. Kisah superhero hanya cocok jadi tontonan televisi di rumah (serial televisi Superman dan Batman populer di tahun 1950-an dan 1960-an).

Kisah Superman layar lebar berlanjut hingga sekuel keempat di tahun 1980-an. Semakin bilangannya bertambah, kisah Superman versi layar lebar makin rendah mutunya dan o rang mulai jenuh dengan kisah manusia super dari planet Krypton ini. Meski begitu, bukan berarti genre ini ikut jenuh. Hollywood lantas menyodorkan sosok superhero baru Batman (Tim Burton) di penghujung 1980-an. Sosok Batman kemudian hadir sepanjang dekade 1990-an. Namun, lagi-lagi sekuel Batman makin buruk (rilisan 1997 [Batman & Robin] malah dianugerahi Razzie Awards, Oscar-nya film-film buruk).

Hollywood lantas berpaling pada Spider-Man (2002, Sam Raimi). Si manusia laba-laba ini membangkitkan kembali kegairahan membuat film superhero di Hollywood. Usai Spider-Man sukses besar, berturut-turut hadir versi layar lebar Hulk, The X-Men, Dare-Devil, The Punisher, Elektra, Cat Woman, hingga Iron Man. Superman dan Batman sendiri di-reboot alias dipermak ulang untuk penonton generasi 2000-an (Superman Returns, Batman Begins, The Dark Knight). Di luar film-film superhero yang tergolong mainstream di atas, Hollywood berkreasi merilis film superhero yang tak lazim. Untuk ini kita perlu menyebut The Incredibles (2004, film superhero bertema keluarga), My Super Ex-Girlfriend (2006, film superhero di-mix and match dengan komedi romantis), dan terakhir Hancock (2008, film superhero dengan penggambaran pahlawan super yang lebih sering bikin masalah buat orang banyak hingga butuh perawatan segala).

Fenomena di atas tak terjadi di Indonesia. Kelahiran kisah Superman versi Indonesia tak membangkitkan sineas lain untuk mengeksplorasi genre ini lebih jauh. Terbukti, sejak Rama hadir film-film bergenre superhero hanya muncul sesekali. Selain Gundala Putra Petir, ada DarnaAjaib (1980, Lilik Sudijo) yang berkisah tentang anak ajaib berkekuatan super.[4] Lalu hadir pula Manusia 6 Juta Dollar (1981, Ali Shahab) dan Gadis Bionik (1982, Ali Shahab). Dua film yang disebut terakhir ini lahir menyusul kepopuleran serial televisi populer waktu itu. Manusia 6 Juta Dollar merupakan versi parodi dengan Warkop DKI (Dono, Kasino, Indro) sebagai bintang utamanya. Sedangkan Gadis Bionik memasang (keseksian) Eva Arnaz sebagai jualan utama.

II

Genre superhero tak pernah jadi genre populer. Bahkan hingga sekarang, saat sineas kita merilis lebih dari 40-an film dalam setahun. Kita sudah melihat beberapa film anak-anak, puluhan film horor dan percintaan remaja, belasan komedi seks, dan film religius. Tapi, film superhero? Sepertinya, belum ada produser yang berminat membuatnya.

Mengapa begitu? Sebelum menjawab pertanyaan utama itu, ada baiknya menjawab pertanyaan yang ini dulu: mengapa produser era ’70-an dan awal ’80-an memutuskan membuat film superhero?

Anda harus mengerti dulu iklim perfilman di tahun-tahun itu untuk menjawabnya. Memasuki 1970-an, pemerintah mengeluarkan kebijakan yang bertujuan memajukan perfilman nasional. Kala itu, Menteri Penerangan Budiardjo mengeluarkan Surat Keputusan Nomor 40/Kep/Mempen/1971 yang lazim disebut SK 71. Isinya, pemerintah memberi pinjaman pada produser sebesar setengah ongkos produksi film yang sedang mereka buat, dengan jumlah maksimal pinjaman Rp 7,5 juta (angka yang lumayan besar di tahun 1971). Keputusan ini disambut hangat kalangan produser. Terbukti, angka produksi film melonjak dari 21 film di tahun 1970 naik jadi 52 pada 1971.[5]

Di satu sisi, kebijakan ini terbukti meningkatkan jumlah produksi film. Namun, di sisi lain peningkatan kuantitas tak diikuti dengan peningkatan kualitas. Misbach Yusa Biran, sebagaimana dikutip Salim Said, mengeluhkan lahirnya banyak film yang “mutunya makin lama makin sulit dipertanggungjawabkan.”[6] Pangkal soalnya, SK 71 ini melahirkan para sineas dadakan. Kebutuhan akan tenaga perfilman serba cepat berdampak pada banyak bermunculan tenaga baru yang tak berpengalaman dan minim pengetahuan. Alhasil, film yang mereka hasilkan pun ala kadarnya, kebanyakan buruk.

Nah, di tengah situasi seperti itu lahir Rama Superman Indonesia. Tidak ada catatan yang menyebutkan film ini bermutu baik. Buku KatalogFilm susunan JB Kristanto (2005) tak menyebutkan film ini mendapat penghargaan FFI maupun disebut sebagai film laris. Sejarah pun mencatat, dampak kebijakan pemerintah yang mengakibatkan booming film, belakangan disambut dingin penonton. Orang makin jarang ke bioskop karena tahu lebih banyak film Indonesia yang jelek dari hari ke hari. Mereka baru akan menonton film Indonesia bila filmnya betul-betul baik.[7] Film impor keluaran Hollywood, Hong Kong, atau India lebih jadi pilihan tontonan. Kejemuan orang pada film Indonesia, membuat banyak produser merugi. Produksi film nasional kembali melorot.

Situasi ini mendorong para sineas bereaksi. Akan tetapi, alih-alih memperbaiki mutu film yang mereka bikin, kebanyakan sineas mengkambinghitamkan banjirnya film impor. Protes ini didengar pemerintah. Di jaman Menteri Penerangan Mashuri keluar Surat Kepututusan Menteri Pemerangan No. 51/Kep/Menpen/1976 yang mewajibkan importir film memproduksi film sebagai syarat untuk memasukkan film dari luar negeri. Kebijakan ini terbukti meningkatkan jumlah produksi film nasional. Pada 1977-1978 Direktorat Film Departemn Penerangan mengeluarkan 100 surat izin produksi film.[8] Rupanya, importir yang jadi produser film dadakan ini tak mau melepaskan usahanya mengimpor film luar negeri. Demi mendapat ijin memasukkan film impor, mereka rela jadi produser film.

Namun, lagi-lagi sejarah berulang. Banyak film, bukan berarti pula mutunya bagus-bagus. Produser film dadakan, yang “terpaksa” jadi produser lantaran ingin usahanya mengimpor film tetap jalan, dituding jadi biang kerok rendahnya mutu film nasional. Waktu itu produser yang importir film ini dituduh membuat film asal jadi.[9]

Sepeninggal Mashuri, giliran Ali Murtopo jadi menteri penerangan (dilantik Presiden Soeharto pada 1978). Ali Murtopo membebaskan para importir film dari kewajiban membuat film. Akibatnya, produksi film merosot. Salim Said mencatat, Ali tampaknya ingin terlebih dulu membersihkan dunia film Indonesia dari film-film bermutu rendah.[10] Film-film yang dibuat golongan “produser terpaksa”. Ali Murtopo lantas mengadopsi kebijakan yang pernah dilakukan pendahulunya di awal Orde Baru, yakni membiayai film yang disebut proyek percontohan “seperti apa film yang baik itu”.[11] Pada awal 1980-an proyek percontohan Ali Murtopo menghasilkan 5 film: Sorta, Titian Serambut Dibelah Tujuh, Halimun, Lima Sahabat, dan Woyla.

Film superhero macam Gundala, Darna Ajaib hingga Gadis Bionik lahir di saat iklim perfilman mulai membaik dalam arti importir film yang jadi produser dadakan tak lagi diwajibkan membuat film. Namun, bukan berarti pula budaya membuat film asal jadi ikutan sirna. Gadis Bionik dan Manusia 6 Juta Dollar tak lebih dari reaksi latah produser film melihat kepopuleran serial televisi Bionic Woman dan The Six Million Dollar Man di TVRI saat itu. Sedangkan Gundala sebentuk reaksi sineas melihat komik yang tengah digandrungi masyarakat untuk kemudian di angkat ke layar lebar.

Sah-sah saja mengangkat serial televisi atau komik ke layar lebar. Hollywood sudah lama melakukannya. Yang jadi persoalan, bila di Hollywood sana versi layar lebar dari komik atau serial televisi memberi pengalaman sinematik berbeda saat diangkat ke layar lebar, tak demikian dengan film-film superhero yang disebut di atas. Film superhero buatan lokal kalah jauh dari segi teknologi. Gundala, misalnya, efek visualnya ketinggalan jaman dibanding film Superman pertama yang hadir 3 tahun sebelumnya.

III

Bila ditilik, pangkal soalnya terletak pada uang. Membuat film superhero sungguhan tidaklah murah. Adegan yang memperlihatkan sang jagoan mengeluarkan kekuatan supernya membutuhkan dana yang tak sedikit. Sekedar tipuan kamera sederhana macam serial televisi Superman di tahun ’50-an jelaslah sudah usang. Di awal tahun 1970-an, film Indonesia dibuat dengan bujet rata-rata belasan juta rupiah. Di penghujung ’70-an rata-rata film nasional berbujet 40-an juta rupiah—film yang bujetnya ratusan juta rupiah sudah sangat mahal waktu itu.[12] Angka-angka itu terlihat kecil bila dibandingkan film superhero bikinan Hollywood. Situs IMDB mencatat film Superman (1978) berbujet 55 juta dollar Amerika.

Bujet membuat film superhero kini makin spektakuler. Film The Dark Knight berbujet 150 juta dollar Amerika. Itu jumlah standar di Hollywood sana untuk film yang membutuhkan banyak aksi spektakuler. Namun, sineas film-film superhero lain berani mengambil resiko dengan angka di atas 200-an juta dollar. Sekadar contoh, X-Men: The Last Stand (2006) berbujet 210 juta dollar, Spider-Man 3 (2007, $ 258 juta dollar), dan Superman Returns (2006, $ 270 juta).

Angka-angka itu masih terlalu tinggi untuk ukuran film-film Indonesia sekarang. Rata-rata film Indonesia saat ini dibuat dengan bujet 2-3 miliar rupiah. Film yang dibuat di atas 5 miliar rupiah terhitung sedikit (Ayat-ayat Cinta konon dibuat dengan bujet 5 miliar rupiah, Gie konon berbujet 7 miliar rupiah).

IV

Di luar urusan uang, film superhero tak pernah benar-benar mengakar di jagad film nasional. Buktinya, sejarah mencatat kita hanya pernah melahirkan beberapa film superhero. Bila ditelusuri lebih jauh, kisah superhero bahkan bukanlah khas Indonesia. Mitologi pewayangan Mahabharata dan Ramayana yang sudah kita akrabi berabad-abad memang menyebutkan jagoan-jagoan berkekuatan super (Gatotkaca dan Hanoman, misalnya). Namun, apa yang disebut superhero muncul dan berkembang di tahun 1970-an lewat komik-komik lokal. Gundala, Godam, dan kawan-kawannya tumbuh subur di era itu.

Hanya saja, superhero lokal tak lebih dari tiruan atau versi lokal dari jagoan-jagoan superhero Amerika. Goenawan Mohamad pernah memaparkan kalau Gundala dan Godam (serta beberapa tokoh superhero komik lokal lainnya) mirip ”saudara”-nya di Amerika sana. Godam mirip Superman dan Captain Marvel. Jika Captain Marvel adalah penjelmaan penjual koran miskin, yang kemudian bekerja di radio, yang dengan berteriak ”Shazam!” berubah jadi pria perkasa; Godam, karya Wid N.S., sehari-hari adalah supir berwajah buruk bernama Awang. Tiap kali ada kejahatan dan ia merasa perlu menolong, ia mengenakan cincin sakti lalu berubah jadi Godam.[13]

Sedangkan Gundala mirip Captain America. Gundala, karya Hasmi, berpakaian hitam-hitam berupa kaus ketat yang menutupi seluruh tubuh dan sebagian wajahnya. Kepalanya pun tertutup kedok hitam, dengan hiasan sayap atau bulu di masing-masing kupingnya (konon, sayap di kuping itu perlambang sayap burung garuda, lambang negara kita). Kostum ini mirip Captain America. Bedanya, Gundala tertutup pakaian warna gelap sedang Captain America—yang muncul di masa menjelang Perang Dunia II ketika patriotisme Amerika memuncak—berwarna merah-putih-biru, warna bendera Amerika.[14]

Baik Godam dan Gundala amat digemari di tahun ’70-an.[15] Komik superhero telah menggantikan kepopuleran komik cerita silat di tahun sebelumnya. Saat komik silat populer, dunia film ikutan latah membikin versi filmnya. Komik Si Buta dari Gua Hantu karya Ganes TH difilmkan pada 1970 dengan bintang Ratno Timoer. Pola serupa rupanya terjadi pula pada komik superhero. Meski hanya Gundala yang resmi diadaptasi ke film, besar kemungkinan film lainnya, seperti Rama, dibuat setelah melihat komik superhero populer di masyarakat.

V

Masalahnya, ya itu tadi, film superhero lokal tak memberi pengalaman sinematis berarti pada penonton. Efek visualnya tak lebih tipuan kamera sederhana. Alhasil, orang jadi malas menontonnya. Buntutnya, filmnya tak laku. Dan kalau sudah tak laku, akan sulit mengharapkan ada produser lain membuat film sejenis. Padahal, ini budaya produser Indonesia sejak dulu. Sebuah film populer akan melahirkan epigon berupa film bergenre sejenis. Bukankah itu yang terjadi pada Jelangkung dan Ada Apa dengan Cinta? Beberapa tahun lalu, dan Quickie Express serta Ayat-ayat Cinta sekarang? Film-film itu telah melahirkan banyak film ikutan. Produser kita yang kebanyakan bermental pedagang memandang film murni sebagai barang dagangan. Cara berpikir mereka sederhana. Jika melihat dagangan tetangga sebelah laku, dagangan yang sama mereka jual juga.

Padahal, jika menganggap film-film Hollywood sebagai tetangga sebelah, mestinya produser kita tergoda pula untuk ikut membuat film superhero. Film superhero keluaran Hollywood terbukti menguntungkan. Menurut data IMDB, untuk peredaran di seluruh dunia Spider-Man 3 memperoleh keuntungan lebih dari 885 juta dollar Amerika. Film Batman terbaru, The Dark Knight langsung bertengger di nomor satu box office. Modal yang dikeluarkan Warner Bros., produsernya, sudah balik belum sampai sebulan, bahkan berlipat jadi 314 juta dollar Amerika menurut data IMDB hingga akhir Juli 2008.

Apa produser kita tak tergoda dengan angka-angka itu? Mestinya sih iya. Hanya saja, saya rasa tak ada produser kita yang berniat membuat film berbujet 100 juta dollar Amerika hingga saat ini. Mungkin juga mereka belum sekaya itu. Kecuali para pengemplang BLBI berniat jadi produser film. Kita mungkin akan melihat film superhero lokal yang tak kalah spektakuler dari trilogi Spider-Man.

VI

Lalu, bagaimana dengan kelanjutan film Gundala yang katanya akan edar Juni tahun depan? Maaf, sepertinya kabar itu diragukan kebenarannya. Majalah Cinemags edisi Juli memuat surat pembaca yang bertanya soal kebenaran kabar film Gundala. Redaksi Cinemags meragukan kebenaran kabar itu. Cinemags menulis, jika ditelusuri nama-nama yang tercantum tidak dikenal dan sosoknya tidak ada.[16]

Situs yang memuat kabar itu sepertinya buatan fans Gundala yang mengharap betul versi filmnya hadir kembali—dengan kualitas tak kalah dari film superhero bikinan Hollywood.[17] Keinginan pembuat situs itu adalah keinginan kita bersama. Ya, kita sudah gerah dengan film horor cupu dan mulai bosan dengan komedi seks murahan. Bapak-bapak para pengemplang BLBI, adakah dari Anda yang berniat jadi produser film? ***

Tken from rumahfilm

10 Film WARKOP Terbaik

10. Pokoknya Beres (1983), Sutradara: Arizal

Us Us sebagai bapak kos membuat film yang seperti kliping adegan-adegan ini jadi lebih terasa “rumahan”. Dono, Kasino, Indro, plus Eva Arnaz dan Lidya Kandou yang nyaris selalu pakai short pant dan kaos ketat sepanjang film hampir seperti keluarga di sini. Warkop menggambarkan para perantau yang jadi pengangguran, dan disibukkan oleh salah paham kecil dan kesialan-kesialan kecil di antara para penghuni kos sendiri.

9. CHIPS-Cara Hebat Ikut Penanggulangan Masalah Sosial (1983), Sutradara: Iksan Lahardi.

Diilhami film seri CHIPS yang dibintangi Eric Estrada, Warkop jadi anggota polisi bermotor swasta pimpinan Oom Junet (Panji Anom) yang mata keranjang. Selalu sial dalam tugas, para anggota CHIPS ala Warkop ini juga jadi sindiran tentang budaya suap di kalangan aparat kepolisian waktu itu. Lihat saja adegan Kasino memeras si Oom dengan kata “Jangkrik, booos....!”

8. Manusia 6000000 Dollar (1981), Sutradara: Ali Shahab.

Saat mengejar copet, Dono ketabrak bemo, jadi manusia bionik. Diilhami sukses film seri TV The Six Million Dollar Man tentang Steve Austin (Lee Mayors). Dono harus menyelamatkan Eva Arnaz, dan melawan si gigi besi Jack John –ini karakter yang diilhami salah satu musuh James Bond dalam Moonraker. Adegan tak terlupakan: Kasino berburu copet, malah digebuki di pasar disangka copet.

7. Sama Juga Bohong (1986), Sutradara: Chaerul Umam.

Skenario ditulis N. Riantiarno. Sutradara dan penulis skenario yang biasa dengan film “nyeni” membuat film ini sangat unik dibanding film-film Warkop lainnya. Dono dibantu Kasino-Indro membuat robot untuk pertunjukan amal. Barangkali, ini salah satu dari sedikit sekali film Indonesia yang menampilkan karakter robot. Film ini juga paling tak mengeksploitasi keseksian perempuan.

6. Maju Kena Mundur Kena (1983), Sutradara: Arizal.

Film Warkop paling laris. Kasino jadi bos bengkel, dan Dono-Indro jadi bawahannya. Kasino melarang anak buahnya naksir perempuan, tapi dia sendiri terobsesi pada Marina (Eva Arnaz). Kemudian Marina satu kos dengan mereka, tapi yang beruntung malah Dono yang diakui suami Marina untuk menghindari dari perkawinan paksa oleh kakek-neneknya. Film diakhiri dengan Dono menyamar jadi pemain sepak bola wanita.

5. Setan Kredit (1982), Sutradara: Iksan Lahardi.

Dono Kasino Indro jadi tim pembantu orang-orang yang kesulitan, termasuk mencari dan mencoba menyelamatkan seorang anak yang diculik. Sepertiga terakhir film ini menjadi komedi-horor, dengan trik-trik kamera yang lumayan. Gaya mereka menghadapi pocong mirip dengan film-film vampir Hongkong yang populer pada 1990-an.

4. Mana Tahan (1979), Sutradara: Nawi Ismail.

Film paling “lurus” dari Warkop, juga adalah film pertama mereka. Citra “anak kos” dalam film ini tetap lekat pada mereka sampai film terakhir mereka pada 1994. Citra yang menggambarkan mereka sebagai sekawanan pemuda kurang kerjaan dan terobsesi pada perempuan. Masih dengan “Warkop keempat” yang asli: Nano.

3. Pintar-Pintar Bodoh (1980), Sutradara: Arizal.

Secara subjektif, inilah film Warkop terlucu menurut saya. Kritik sosialnya suwir-suwir saja, tapi premis ceritanya sudah lucu: detektif culun saling bersaing, dan semua kena nasib konyol. Momen paling ikonik: Dono memarodikan gaya John Travolta di Saturday Night Live, dan Kasino menyanyi “lagu kode”. Dibantu oleh Dorman Borisman, sebagai “Warkop keempat”.

2. Dongkrak Antik (1982), Sutradara: Arizal.

Kali ini, “Warkop keempat” adalah Mat Solar, yang budek dan suka nyabut bulu hidung. Mereka jadi pegawai hotel yang serbasalah. Dono pelupa, Kasino pemarah, Indro gagap. Di ujung film, mereka tampil sebagai band “Wah Gede Banget!”, yang memelesetkan lagu-lagu Beatles dan Rolling Stone jadi lagu-lagu-lagu daerah.

1. Gengsi Dong (1980), Sutradara: Nawi Ismail.

Dono sebagai Slamet, Kasino sebagai Sanwani, Indro sebagai Paijo. Mereka mahasiswa di kota Jakarta yang bersaing soal cewek dan gengsi. Slamet yang paling kampungan, sebetulnya paling kaya. Sedang Sanwani yang suka berganti-ganti mobil ternyata anak pemilik bengkel, dan mobil-mobil Sanwani adalah mobil-mobil para pelanggan. Sindiran sosial yang menghibur, tentang rapuhnya kebanggaan kelas sosial. Di film inilah pula, Dono mulai terkenal dengan panggilan ”bemo”.

Taken from rumahfilm

The fact of Pulp Fiction

Overview

Directed in a highly stylized manner, employing many cinematic allusions, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, petty thieves, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. Considered by some critics a black comedy,^[3] the film is also frequently labeled a "neo-noir".^[4] Critic Geoffrey O'Brein argues otherwise:

The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. Neither neo-noir nor a parody of noir, Pulp Fiction is more a guided tour of an infernal theme park decorated with cultural detritus, Buddy Holly and Mamie Van Doren, fragments of blaxploitation and Roger Corman and Shogun Assassin, music out of a twenty-four-hour oldies station for which all the decades since the fifties exist simultaneously.^[5]

Nicholas Christopher similarly calls it "more gangland camp than neo-noir".^[6] Foster Hirsch also suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label: Set "in a world that could exist only in the movies", Pulp Fiction is "a succulent guilty pleasure, beautifully made junk food for cinéastes".^[7]

In keeping with writer-director Quentin Tarantino's trademark of nonlinear storytelling, the narrative is presented out of sequence. Pulp Fiction is structured around three distinct but interrelated storylines—in Tarantino's conception, mob hitman Vincent Vega is the lead of the first story, prizefighter Butch Coolidge is the lead of the second, and Vincent's fellow contract killer, Jules Winnfield, is the lead of the third.^[8] Although each storyline focuses on a different series of incidents, they connect and intersect in various ways. The film starts out with a diner hold-up staged by "Pumpkin" and "Honey Bunny", then picks up the stories of Vincent, Jules, Butch, and several other important characters, including mob kingpin Marsellus Wallace, his wife, Mia, and underworld problem-solver Winston Wolf. It finally returns to where it began, in the diner: Vincent and Jules, who have stopped in for a bite, find themselves embroiled in the hold-up. There are a total of seven narrative sequences—the three primary storylines are preceded by identifying intertitles on a black screen:

1. Prologue—The Diner (i)
2. Prelude to "Vincent Vega and Marsellus Wallace's Wife"
3. "Vincent Vega and Marsellus Wallace's Wife"
4. Prelude to "The Gold Watch" (a—flashback, b—present)
5. "The Gold Watch"
6. "The Bonnie Situation"
7. Epilogue—The Diner (ii)

If the seven sequences were ordered chronologically, they would run: 4a, 2, 6, 1, 7, 3, 4b, 5. Sequences 1 and 7 partially overlap and are presented from different points of view; the same is true of sequences 2 and 6. The narrative course, with all its detours, is virtually circular, as the final scene overlaps and resolves the interrupted first scene. Reflecting on the film, Tarantino says, "One thing that's cool is that by breaking up the linear structure, when I watch the film with an audience, it does break [the audience's] alpha state. It's like, all of a sudden, 'I gotta watch this...I gotta pay attention.' You can almost feel everybody moving in their seats. It's actually fun to watch an audience in some ways chase after a movie.

Plot

"Pumpkin" (Tim Roth) and "Honey Bunny" (Amanda Plummer) are having breakfast in a diner. They decide to rob it after realizing they could make money off not just the business but the customers as well, as occurred during their previous heist. Moments after they initiate the hold-up, the scene breaks off and the title credits roll.

---

As Jules Winnfield (Samuel L. Jackson) drives, Vincent Vega (John Travolta) talks about his experiences in Europe, from where he has just returned—the hash bars in Amsterdam; the French McDonald's and its "Royale with Cheese." The dress-suited pair are on their way to retrieve a briefcase from Brett (Frank Whaley), who has transgressed against their boss, gangster Marsellus Wallace. Jules tells Vincent how Marsellus had someone thrown off a fourth-floor balcony for giving his wife a foot massage. Vincent says that Marsellus has asked him to escort his wife while Marsellus is out of town. They conclude their banter and "get into character," which involves executing Brett in dramatic fashion after Jules recites a baleful "biblical" pronouncement.

Vincent Vega and Marsellus Wallace's Wife

In a virtually empty cocktail lounge, aging prizefighter Butch Coolidge (Bruce Willis) accepts a large sum of money from Marsellus (Ving Rhames), agreeing to take a dive in his upcoming match. Butch and Vincent briefly cross paths as Vincent and Jules—now inexplicably dressed in T-shirts and shorts—arrive to deliver the briefcase. The next day, Vincent drops by the house of Lance (Eric Stoltz) and Jody (Rosanna Arquette) to score some high-grade heroin. He shoots up before driving over to meet Mrs. Mia Wallace (Uma Thurman) and take her out. They head to Jack Rabbit Slim's, a 1950s-themed restaurant staffed by lookalikes of the decade's pop icons. Mia recounts her experience as an actress in a failed television pilot, "Fox Force Five."

After participating in a twist contest, they return to the Wallace house with the trophy. While Vincent is in the bathroom convincing himself not to act on his growing attraction to his boss's wife, Mia finds Vincent's stash of heroin in the pocket of his coat. Mistaking it for cocaine, she snorts it and overdoses. Vincent finds her and fearfully rushes her to Lance's house for help. Together, they administer an adrenaline shot to Mia's heart, reviving her. Before parting ways, Mia and Vincent agree not to tell Marsellus of the incident, fearing what he might do to them.

---

Television time for young Butch (Chandler Lindauer) is interrupted by the arrival of Vietnam veteran Captain Koons (Christopher Walken). Koons explains that he has brought a gold watch, passed down through generations of Coolidge men since World War I. Butch's father died in a POW camp of dysentery, and at his dying request Koons hid the watch in his rectum for two years in order to deliver it to Butch. A bell rings, startling the adult Butch out of this reverie. He is in his boxing colors—it is time for the fight he has been paid to throw.

The Gold Watch

Butch flees the arena, having won the bout. Making his getaway by taxi, he learns from the death-obsessed driver, Esmarelda VillaLobos (Angela Jones), that he killed the opposing fighter. Butch has double-crossed Marsellus, betting his payoff on himself at very favorable odds. The next morning, at the motel where he and his girlfriend, Fabienne (Maria de Medeiros), are lying low, Butch discovers that she has forgotten to pack the irreplaceable watch. He returns to his apartment to retrieve it, although Marsellus's men are almost certainly looking for him. Butch finds the watch quickly, but thinking he is alone, pauses for a snack. Only then does he notice a submachine gun on the kitchen counter. Hearing the toilet flush, Butch readies the gun in time to kill a startled Vincent Vega exiting the bathroom.

Butch drives away but while waiting at a traffic light, Marsellus walks by and recognizes him. Butch rams Marsellus with the car and another automobile then collides with his. After a foot chase the two men land in a pawnshop. Butch is about to shoot Marsellus, when the shopowner, Maynard (Duane Whitaker), captures them at gunpoint and ties them up in a half-basement area. Maynard is joined by Zed (Peter Greene); they take Marsellus to another room to rape him, leaving a silent masked figure referred to as "the gimp" to watch a tied-up Butch. Butch breaks loose and knocks out the gimp. He is about to flee when he decides to save Marsellus. As Zed is raping Marsellus on a pommel horse, Butch kills Maynard with a katana. Marsellus retrieves Maynard's shotgun, shooting Zed in the groin. Marsellus informs Butch that they are even with respect to the botched fight fix, so long as he never tells anyone about the rape and departs Los Angeles forever. Butch agrees and returns to pick up Fabienne on Zed's chopper.

---

The Bonnie Situation

The story returns to Vincent and Jules at Brett's. After they execute him, another man (Alexis Arquette) bursts out of the bathroom and shoots wildly at them, missing every time before an astonished Jules and Vincent can return fire. Jules decides this is a miracle and a sign from God for him to retire as a hit man. They drive off with one of Brett's associates, Marvin (Phil LaMarr), their informant. Vincent asks Marvin for his opinion about the "miracle," accidentally shooting him in the face while carelessly waving his gun.

Forced to remove their bloodied car from the road, Jules calls upon the house of his friend Jimmy (Quentin Tarantino). Jimmy's wife, Bonnie, is due back from work soon and he is very anxious that she not encounter the scene. At Jules's request, Marsellus arranges for the help of Winston Wolf (Harvey Keitel). Wolf takes charge of the situation, ordering Jules and Vincent to clean the car, hide the body in the trunk, cover the bloody seats with linens, dispose of their own bloody clothes, and change into T-shirts and shorts provided by Jimmy. He pays Jimmy generously from a wad of cash for his help. They drive the car to a junkyard, from where Wolf and the owner's daughter, Raquel (Julia Sweeney), head off to breakfast and Jules and Vincent decide to do the same.

---

As Jules and Vincent eat breakfast in a Hawthorne coffee shop the discussion returns to Jules's decision to retire. In a brief cutaway, we see "Pumpkin" and "Honey Bunny" shortly before they initiate the hold-up from the movie's first scene. While Vincent is in the bathroom, the hold-up commences. "Pumpkin" demands all of the patrons' valuables, including Jules's mysterious case. Jules surprises "Pumpkin" (whom he calls "Ringo"), holding him at gunpoint. "Honey Bunny," hysterical, trains her gun on Jules. Vincent emerges from the restroom with his gun trained on her, creating a Mexican standoff. Reprising his pseudo-biblical passage, Jules expresses his ambivalence about his life of crime. As his first act of redemption, he allows the two robbers to take the cash they have stolen and leave, pondering how they were spared and leaving the briefcase to be returned to Marsellus, finishing the hitman's final job for his boss.

Taken from wikipedia

The Square Root Of Three

Clever Poem from David Feinberg

I’m sure that I will always be
A lonely number like root three

The three is all that’s good and right,
Why must my three keep out of sight
Beneath the vicious square root sign,
I wish instead I were a nine

For nine could thwart this evil trick,
with just some quick arithmetic

I know I’ll never see the sun, as 1.7321
Such is my reality, a sad irrationality

When hark! What is this I see,
Another square root of a three

As quietly co-waltzing by,
Together now we multiply
To form a number we prefer,
Rejoicing as an integer

We break free from our mortal bonds
With the wave of magic wands

Our square root signs become unglued
Your love for me has been renewed

Why So Serious ?

Serius amat nak.. liatin siapa sih ?