A brief history of the Toyota Supra

The Supra Mark IV was shorter, lower and wider than its predecessor.
Automotive News
January 21, 2014 - 11:14 am ET

The Toyota FT-1 concept has triggered discussions as to whether it is a design study for a next-generation Supra sports car. Toyota Motor Chairman Takeshi Uchiyamada has publicly proclaimed that the brand needs a return of its iconic Supra. And CEO Akio Toyota's lead-footed racing habits lend credibility to the idea that he won't be bullied by bean-counters who feel a sports car doesn't make financial sense.

Toyota FT-1 konsep telah memicu diskusi apakah itu adalah studi desain untuk generasi Supra mobil sport. ketua Toyota motor Takeshi Uchiyamada secara terbuka menyatakan bahwa merek membutuhkan kembalinya ikon Supra-nya. 

What follows is a brief history of the Supra, to see what has come before:

Berikut ini adalah sejarah singkat dari Supra, untuk melihat apa yang telah datang sebelumnya:

1979 model year: Toyota introduces the Celica Supra Mk I, an offshoot of the Celica coupe, but wider, longer and more powerful. The Supra's 110hp 2.6-liter inline-6 engine was the first Toyota production engine to be equipped with electronic fuel injection. The Supra was available with a five-speed manual or four-speed automatic transmission, and came standard with four-wheel-independent suspension and disc brakes at all corners.

1979 model tahun: Toyota memperkenalkan Celica Supra Mk I, sebuah cabang dari coupe Celica, tapi lebih luas, lebih lama dan lebih kuat. 110hp 2.6-liter inline-6 mesin Supra adalah yang pertama mesin produksi Toyota akan dilengkapi dengan electronic fuel injection. Supra tersedia dengan manual lima kecepatan atau transmisi otomatis empat kecepatan, dan datang standar dengan suspensi dan rem cakram roda empat-independen di seluruh pelosok.

1981: Engine upgraded to 2.8 liters, 116hp.

1981: Mesin 2,8 liter upgrade ke, 116hp.

1982: A complete redesign with the Mark II edition, marking the arrival of Toyota's angular styling language. Longer and wider than its predecessor, but with a shorter wheelbase. Power under the hood jumps to 145hp with a twin-cam engine, with a 0-60 time of 9.8 seconds.

1982: Sebuah desain ulang lengkap dengan edisi Mark II, menandai kedatangan Toyota sudut bahasa styling. Panjang dan lebih lebar dari pendahulunya, namun dengan wheelbase lebih pendek. Listrik bawah tenda melompat ke 145hp dengan mesin twin-cam, dengan waktu 0-60 9,8 detik.

1986: This was the era of four-year product cycles. New sheet metal for the Supra Mark III was more refined, and the engine received a power boost to 200hp with a 3.0-liter inline-six. The Supra name was detached from the Celica nameplate.

1986: Ini adalah era siklus produk empat tahun. Lembaran logam baru untuk Supra Mark III adalah lebih halus, dan mesin menerima dorongan kekuatan untuk 200hp dengan 3.0-liter inline-enam. Nama Supra terlepas dari papan nama Celica.

1987: A turbocharged engine variant boosts power to 232hp.

1987: Sebuah mesin varian turbocharged meningkatkan kekuatan untuk 232hp.

1993: The Supra Mark IV arrives, with supercar aspirations -- shorter, lower and wider than its predecessor. The base 3.0-liter inline-six made 220hp, while the 320hp sequential twin-turbo was the most power ever put under the hood of a Toyota-badged vehicle. The turbo could reach 60 mph in less than five seconds.

1993: The Supra Mark IV tiba, dengan aspirasi supercar - lebih pendek, lebih rendah dan lebih lebar dari pendahulunya. Dasar 3.0-liter inline-enam membuat 220hp, sedangkan 320hp sequential twin-turbo yang paling kekuatan yang pernah diletakkan di bawah kap kendaraan Toyota-badged. Turbo bisa mencapai 60 mph dalam waktu kurang dari lima detik.

1996: The strong yen pushes the Supra's U.S. sticker price beyond $40,000 -- far too steep for many buyers. Sales plummet. Toyota releases a stripped Supra with a $31,000 sticker price. It doesn't help.

1996: Yen yang kuat mendorong US harga stiker Supra melampaui $ 40.000 - terlalu curam untuk banyak pembeli. Penjualan menurun. Toyota melepaskan Supra dilucuti dengan harga stiker $ 31.000. Itu tidak membantu.

1999: Toyota stops building the Supra. A trickle of sales continues into 2000.

1999: Toyota berhenti membangun Supra. Sebuah tetesan penjualan terus berlanjut ke tahun 2000.

http://www.autonews.com/article/20140121/OEM03/140129977/a-brief-history-of-the-toyota-supra

New Locomotives Boost PTBA’s Performance

16 Apr 2013

By Parluhutan Situmorang 

An Additional of 20 railroad locomotives might increase the volume of the coal shipment of PTBA. This year, the company's revenue is predicted to grow 8.7% to USD12.5 billion compared to the revenue of the last year amounted to Rp11.5 trillion. 

 20 lokomotif kereta api tambahan dapat meningkatkan volume pengiriman batubara dari PTBA. .

PT KAI previously received an additional 20 railroad locomotives to transport coal in South Sumatra. The delivery of locomotives during March-April 2013 was part of adding 40 locomotives in total, throughout this year.

 PT KAI sebelumnya menerima tambahan lokomotif kereta api untuk mengangkut 20 batubara di Sumatera Selatan. Pengiriman lokomotif selama Maret-April 2013 adalah bagian dari penambahan 40 lokomotif .

CIMB Securities analyst, Erindra Krisnawan revealed that the punctual presence of those locomotives turns out to be a positive surprise of the prospect of PTBA’s coal sales volume in 2013. This additional of 20 locomotives seems to exceed the expectations of the company's sales this year.

 Analis CIMB Securities, Erindra Krisnawan mengungkapkan bahwa kehadiran tepat waktu dari  lokomotif mereka ternyata menjadi kejutan positif dari prospek volume penjualan batubara PTBA di tahun 2013.

The positive sentiment also comes from the agreement of the average selling price of coal to PLN for coals supply to the Suralaya’s Coal-fired Power Plant (PLTU). Determination of the average selling price PLN can be a good sign for performance and flow of PTBA’s share price in future, Erindra said in his research recently.

 Sentimen positif juga datang dari kesepakatan harga jual rata-rata batu bara ke PLN untuk batubara pasokan ke Suralaya yang berbahan bakar batubara Pembangkit Listrik (PLTU). 

Those two main issues emphasize the assumption of CIMB Securities about the raise of PTBA’s profit targets that reach approximately 5-11% during 2013-2015. Share price is also targeted to increase up to Rp17,700 based on the outperform recommendation. In fact, this foreign securities company already sets PTBA as the top choice for coal mining sector. The average PTBA’s selling price to PLN was equal to 7% lower than the selling price last year that reached USD72 per ton. "The average selling price is lower than last year's realization. However, the price is better than realization of first quarter in 2013 at the level of USD66 per ton,” Erindra wrote. The Shipment of 20 new locomotives pushed CIMB Securities to raise its target sales volume of PTBA by 5% to 18.4 million tons. however, the target is still lower than the management projections about 20.6 million tons, the assumption of sales volume might reach 20.6 million tons. According to him, the net profit per PTBA’s share potentially increase approximately 22% during 2013. The growth in share prices also reflects on the company's coal reserves, low production costs, and domination in domestic coal market. "Those superiority which make PTBA has defensive shares compared to rest in the coal mining sector," Erindra explained.

 Kedua isu utama menekankan asumsi CIMB Securities tentang kenaikan laba target PTBA yang mencapai sekitar 5-11% selama 2013-2015. Harga saham juga ditargetkan meningkat hingga Rp17,700 berdasarkan rekomendasi outperform. Bahkan, perusahaan sekuritas asing ini sudah menetapkan PTBA sebagai pilihan utama bagi sektor pertambangan batubara. Harga jual rata-rata PTBA untuk PLN adalah sebesar 7% lebih rendah dari harga jual tahun lalu yang mencapai USD72 per ton. "Harga jual rata-rata lebih rendah dari realisasi tahun lalu. Namun, harga lebih baik dari realisasi kuartal pertama tahun 2013 di level USD66 per ton.

Meanwhile, Deutsche Bank Verdhana Indonesia analyst, William Kho said that the arrival of 20 new locomotives will have an impact on the growth of PTBA’s coal transport volumes. ''Although there are additional new locomotives, but during the implementation; it needs to be monitored. Therefore, the bottleneck along the railway of Prabumulih-Muara Enim might cause those locomotives do not have a major impact on increasing freight volumes," as William said in his research. Deutsche Bank targeted the PTBA’s share price amounted to Rp17,300. The price reflects the forecasts of PER about 19.5 times this year, higher than last year around 13.5 times. The expectation of dividends could be a catalyst for short-term PTBA’s share price movement.

  Deutsche Bank ditargetkan harga saham PTBA sebesar Rp17,300. Harga mencerminkan perkiraan PER sekitar 19,5 kali tahun ini, lebih tinggi dari tahun lalu sekitar 13,5 kali. harapan dividen bisa menjadi katalis bagi pergerakan harga saham jangka pendek PTBA.

Source: Investor Daily page. 15 on Tuesday, April 16, 2013

http://ptba.co.id/en/article/index/6/lokomotif-pemacu-kinerja-bukit-asam

Dangdut Stories: A Social and Musical History of Indonesia's Most Popular Music

Article excerpt

Dangdut stories: A social and musical history of Indonesia's most popular music

By ANDREW N. WEINTRAUB

Oxford, New York: Oxford University Press, 2010. Pp. 258. Plates, Figures, Musical Notations, Bibliography, Index.

doi: 10.1017/S0022463413000209

Ehnomusicologist Andrew Weintraub's Dangdut stories is the first comprehensive study of dangdut, 'Indonesia's most popular music', as the title rightfully claims. Given dangdut's enormous popularity and sheer inescapable aural presence in the daily life of modern Indonesia, it is in fact remarkable that it has taken so long for it to be recognised as a subject worthy of serious scholarly attention. However, one may wonder if this academic neglect somehow reflects dangdut's longstanding reputation of being a debased commercial music genre without any sophistication or originality--cheap music catering for the trivial tastes of the lower classes. Weintraub's work is the first tvolume dedicated fully to dangdut, covering its multiple musical, aesthetic, social, and political dimensions. As such it is a long overdue contribution to the study of Indonesia's enormously rich contemporary musicscape. This was quickly recognised in Indonesia itself: this spring, the Indonesian publisher Gramedia published an Indonesian translation of Dangdut Stories entitled Dangdut: Musik, identitas, dan budaya Indonesia.

Cerita Dangdut Etnomusikolog Andrew Weintraub adalah studi komprehensif pertama dangdut, 'musik paling populer di Indonesia', sebagai judul berhak mengklaim. Mengingat popularitas besar dangdut dan semata-mata kehadiran aural tak terhindarkan dalam kehidupan sehari-hari Indonesia modern, itu sebenarnya luar biasa yang telah diambil begitu lama untuk itu harus diakui sebagai subjek layak perhatian ilmiah yang serius. Namun, satu mungkin bertanya-tanya jika mengabaikan akademik ini entah bagaimana mencerminkan reputasi lama dangdut menjadi sebuah genre musik komersial hina tanpa kecanggihan atau orisinalitas - murah musik katering untuk selera sepele kelas bawah. Karya Weintraub adalah yang volume pertama yang didedikasikan sepenuhnya untuk dangdut, meliputi musik yang beberapa, estetika, sosial, dan dimensi politik. Karena itu merupakan kontribusi lama tertunda untuk mempelajari sangat besar kaya musicscape kontemporer Indonesia. Ini segera diakui di Indonesia sendiri.

Weintraub presents his rich account of dangdut's historical development up to its current position within mass-mediated commercial popular culture in the form of different 'stories' about the genre, while modestly acknowledging that these stories are inevitably 'incomplete and selective' (p. 233). His approach, which links an exploration of dangdut's musical origins and developments as a hybrid genre, influenced mainly by Indian, Malay, Western, Middle Eastern and local music styles yet distinctively Indonesian, with an analysis of it 'as a political economy of contested symbols' that mediate 'meanings about social relations in modern Indonesian society' (p. 28), sets a high standard for future 'stories' on the subject.

Sejarah perkembangan Dangdut hingga posisi saat ini dalam budaya populer komersial massal dimediasi dalam bentuk 'cerita' yang berbeda tentang genre, sementara sederhana mengakui bahwa kisah-kisah ini pasti 'tidak lengkap dan selektif'. Pendekatannya, yang menghubungkan eksplorasi asal musik dangdut dan perkembangan sebagai genre hibrida, dipengaruhi terutama oleh India, Melayu, Barat, Timur Tengah dan musik lokal gaya belum khas Indonesia, dengan analisis itu sebagai ekonomi politik dari simbol diperebutkan 'yang menengahi' makna tentang hubungan sosial dalam masyarakat Indonesia modern ', menetapkan standar yang tinggi untuk masa depan.

The first 'story', the Introduction, is a lively array of short ethnographic clips from different social sites where contemporary dangdut is performed: from TV shows and political campaign rallies to highly eroticised spectacles and ritual celebrations.

 Video klip singkat dari situs sosial yang berbeda di mana dangdut kontemporer dilakukan: dari acara TV dan aksi kampanye politik untuk kacamata yang sangat erotis dan perayaan ritual.

The evocation of these contrasting atmospheres, and the multiple meanings associated with these diverse social sites, in which dangdut is an important part of contemporary Indonesian public life, is followed by an overview of the study's theoretical and methodological framework. Weintraub locates his 'stories' 'within a range of broader narratives about class, gender, ethnicity, and nation in post-independence Indonesia' (p. 11), arguing 'that not only is dangdut a vivid reflection of national politics and culture, but that dangdut as an economic, political, and ideological practice has helped to shape people's ideas about class, gender, and ethnicity in the modern nation-state of Indonesia' (p. 13).

 Dangdut merupakan bagian penting dari kehidupan masyarakat Indonesia kontemporer, diikuti dengan gambaran kerangka teoritis dan metodologis studi tersebut. Weintraub menempatkan 'cerita' nya 'dalam berbagai narasi yang lebih luas tentang kelas, gender, etnis, dan bangsa pasca-kemerdekaan Indonesia' , dengan alasan 'yang tidak hanya dangdut refleksi yang jelas tentang politik dan kebudayaan nasional, tapi itu dangdut sebagai praktik ekonomi, politik, dan ideologi telah membantu untuk membentuk ide-ide orang tentang kelas, gender, dan etnis di negara-negara modern Indonesia'.

The second and third chapters examine popular claims about dangdut's supposed origins in the Malay music of the Deli region in North Sumatra (Melayu Deli), and traces musical developments of the Orkes Melayu (Malay Orchestra) music of the 1950s and 1960s to a kind of 'proto-dangdut' (p. 72) that would eventually evolve into what came to be its current form.

Asal dangdut dalam musik Melayu dari wilayah Deli di Sumatera Utara (Melayu Deli), dan jejak perkembangan musik dari Orkes Melayu (Melayu Orchestra) musik dari tahun 1950-an dan 1960-an untuk jenis 'proto-dangdut' yang akhirnya akan berkembang menjadi apa yang kemudian menjadi bentuk yang sekarang.

Chapter four offers a detailed analysis of dangdut's emergence in the 1970s as a distinct genre within a broader context of articulating the rakyat ('the people') in Suharto's New Order Indonesia. It combines an account of Rhoma Irama's important role in the history of dangdut with a compelling exploration of dangdut's articulation with, and its constitution of the rakyat: From the 1970s onward, media discourse presented dangdut as the supposed authentic voice of the rakyat--the 'masses'. …

Munculnya dangdut di tahun 1970-an sebagai genre yang berbeda dalam konteks yang lebih luas dari mengartikulasikan di Masa Orde Baru Indonesia. Ini menggabungkan peran Rhoma Irama yang penting dalam sejarah dangdut dengan eksplorasi yang menarik artikulasi dengan dangdut, dan konstitusi dari rakyat: Dari tahun 1970 dan seterusnya,.

Article details

PUBLICATION               : Journal of Southeast Asian Studies

VOLUME/ISSUE             : Vol. 44, No. 2

PUBLICATION DATE   : June 2013

CONTRIBUTORS            :  David, Bettina

https://www.questia.com/library/journal/1G1-331686181/dangdut-stories-a-social-and-musical-history-of-indonesia-s