Perihal perkenalan Babe dengan Robot Gedek ini diungkapkan oleh kuasa hukum Babe, Haposan Hutagalung ketika ditanya apakah Babe mengenal Robot Gedek.

“Ya kenal. Karena sama-sama tukang ojek, sama-sama anak jalanan,” ujar Haposan ketika dihubungi wartawan, Selasa (2/2/2010).

Namun Haposan membantah jika babe pernah bersaksi di sidang Robot Gedek. Haposan juga menegaskan bahwa korban Robot Gedek tidak ada keterkaitan dengan Babe.

Robot Gedek sudah meninggal di RSUD Cilacap, Jawa Tengah pada 26 Maret 2007. Robot diketahui membunuh 12 anak korban sodominya. ( Indonesia )

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“Kalau terbukti ancaman 5 tahun dan akan ditahan segera,” ujar kapolres Jakpus, Kombes Pol Hamidin ditemui di Polres Jakpus, Selasa (2/2/2010) malam.

Berapa banyak shabu-shabu yang dimiliki Sammy hingga kini belum diketahui secara pasti. Polisi masih meneruskan investigasi mereka terhadap pelantun hits ‘Tak Lekang oleh Waktu’ itu.

Sementara itu, manajer Kerispatih, Afi menolak untuk memberikan keterangan apapun terkait ditangkapnya Sammy. Afi terlihat mendatangi Polres Jakpus bersama kedua rekannya untuk melihat kondisi Sammy.

Sekitar satu jam ia berada di sana. Setelah itu ia keluar dan berlari menuju mobilnya tanpa mengeluarkan pernyataan apapun. ( Artis Indonesia )

“Saya kira tidak ada yang perlu diklarifikasi, karena saya tidak pernah membuat testimoni,” kata Susno melalui pesan singkat kepada detikcom, Selasa (2/2/2010).

Susno mengatakan, pertemuannya dengan Kapolri hanya rutinitas biasa sebagai bawahan. Susno mengaku beberapa hari kemarin sedang pergi melakukan umroh dan baru pulang awal minggu ini.

“Ya namanya anak buah selesai melaksanakan izin, kewajibannya lapor,” jelasnya.

Susno juga menjelaskan bahwa dokumen yang selama ini dianggap ‘testimoni’ bukanlah buatan dirinya melainkan draf bukunya yang masih dalam proses.

Susno menganggap apa yang disampaikannya dalam pemeriksaan Pansus Hak Angket di DPR akhir Januari lalu adalah kebenaran karena di bawah sumpah. Sedangkan, isi dari dokumen hanya bersifat data pendukung saja.

“Karena saya tidak pernah membuat testimoni, semua kesaksian saya berikan di hadapan Pansus di bawah sumpah sesuai apa yang ditanyakan. Sedangkan data yang saya berikan adalah data pendukung bukan testimoni,” tegasnya.

Sebelumnya, publik dibuat heboh dengan beredarnya testimoni Susno di kalangan Pansus Angket Century. Salah satu anggota pansus Andi Rahmat adalah orang yang menyampaikannya pertama kali kepada publik.

Testimoni tersebut diperolehnya, usai pemeriksaan pansus terhadap Susno. Dalam testimoni tersebut, Susno bercerita kasus penyelidikan kasus korupsi Bank Century sempat dihentikan karena mengarah pada salah satu calon wakil presiden yang akan dilantik saat itu yakni Boediono. Namun, pihak polri sendiri membantah isi testimoni tersebut. ( Indonesia )

Verizon Wireless on Friday cut the prices of its unlimited talk and text plans, so arch-rival AT&T immediately followed suit. And that benefits iPhone customers, who can now opt for an unlimited voice and data plan that costs $30 less per month.

Previously, iPhone users paid $100 per month for unlimited voice plan plus another $30 for unlimited data. Starting Monday, however, AT&T is charging $100 a month for unlimited voice and data. Family Talk plans feature unlimited voice and data for $180 (assuming two iPhones). Texting prices remain unchanged, at $20 for unlimited plans and $30 for Family Talk Plans.

An AT&T spokesman told me Friday afternoon that the pricing changes only affect unlimited voice and data plans. If I understand him correctly, that makes the Nation 1350 with Rollover Minutes especially unattractive come Monday. That plan costs $80 a month, plus the $30 data plan—in other words, $10 more than what iPhone users will be paying for unlimited voice and data starting next week. (You can read the full details of AT&T’s new prices, including pricing for feature phones and quick message devices, at the wireless provider’s Website.)

Want to switch over to the new unlimited voice and data plan? You can make the move on Monday without penalty or contract extension using AT&T’s online account management tool.

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Exhibits in 2008 included the collections, Shining Spirit: Westheimer Family Collection (May 11, 2007-January 20, 2008), Mark Klett: Oklahoma City Panorama (November 15, 2007-February 10, 2008), “Paris 1900” (December 20, 2007-March 2, 2008), The Tilghman Print Collection (November 23, 2007-May 11, 2008), Seymour Lipton: Drawings (February 14-May 11, 2008), “Roman Art from the Louvre” (June 19-October 12, 2008) and a collection of impressionist paintings, “American Impressionism: Paintings from The Phillips Collection” (November 6, 2008-January 18, 2009). The Museum also plays host to special events such as the weekly “Cocktails on the Skyline” every Thursday on the roof. Entry is free for members, while non-members have to pay a small fee.

The Museum School offers classes for students of all ages and skill levels. Summer camps are also arranged. The Noble Theatre shows great international, independent and classic films that would appeal to film lovers and general viewers.

One of the most prominent art collections in the Museum is “Dale Chihuly: The Exhibition”, showcasing more than three decades of Chihuly’s finest work. Prominent in Chihuly’s glass work on display at the Museum is his tallest installation to date, the fifty-five foot Eleanor Blake Kirkpatrick Memorial Tower.

The Oklahoma City Museum of Art is located near hotels in the area, while tours are arranged by hotels to take visitors to the Museum and other popular Oklahoma destinations.

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“Why you working out?” Eddie asks Jesse.

“I gotta be in shape,” Jesse replies. “Because when I give my first speech, it will be like this.” And then Eddie darts across stage, a blur of red leather ducking and dodging, weaving and bobbing so that the sniper rifle can’t get a read on him.

Speed up a bit to 2000. Dave Chappelle is at the Lincoln Theatre in D.C., and I am in the balcony with a friend who smuggled in beers in her purse. Dave says he doesn’t want to be the first black president. Maybe the second or the third, but definitely not the first. Well, on second thought, he could be the first, but he would have a Mexican vice president for insurance.

Black president: both joke and punch line. Black president: an oxymoron like jumbo shrimp. For a long time, comedians have riffed on what having a black president would actually mean … as if that would ever happen. That if it did, there would be cookouts on the White House lawn, which would have no grass, a broken-down car sitting on bricks and an old weight set in the driveway.

It was always a fantasy, about as realistic as the Loch Ness Monster, mythical in proportion and scope. The futility of the idea was a reflection of the weight of the past and pessimism about the future. Imagine a black president and fill in the rest with stereotypes and tragedy, because there is a grain of truth in both.

The jokes didn’t land on any one person, so there was no harm. That they never would was the ultimate punch line.

We have become accustomed to using humor to push through the burdens of blackness, says Darryl Littleton, author of Black Comedians on Black Comedy: How African-Americans Taught Us to Laugh. Even in bondage, humor helped lighten the load of slavery. “Slaves that didn’t have the commonality of language would use pantomime to make fun of the slave owners,” Littleton said.

Humor has always been a painfully real thing for black America. It’s been a balm both to the hurtful reality of our place in America and the insufferable parts of our past. Jokes about being followed in a department store or being pulled over by the police, or not being able to hail a cab are funny because they connect the past and present struggle.

So what kind of reception should President-elect Barack Obama expect from the comedy world? Should we be on watch for tasteless racial innuendo? Or do we need to guard against being hypersensitive?

Comedian Katt Williams says black comedians won’t hold back.

Littleton agreed. “We comics unleash,” he says. “There won’t be too many things left unsaid. If he messes up, we won’t leave any meat on the bone. Truthfully, for comics, it would have been better if [John] McCain won. The worst choice is always better for us.”

The New Yorker Thelma and Lousie’d its magazine cover off the edge of comedic satire when it depicted Obama and his wife, Michelle, as Osama-loving-terrorist-fist-bumping Muslims. And Carlos Mencia, in a bit about as funny as a wet sock, dresses himself as the president in black face and afro and talks in that grating black dialect made famous by whites. Mencia’s stereotypical notion of blackness was framed by perceptions about how whites see blacks. But even the idea of a collectively clueless white mass seems quaint now that tens of millions of them voted for a man named Barack Hussein Obama.

Carlos Mencia’s routine crosses over the funny line in the same way as The New Yorker magazine cover because it isn’t edgy political humor or even a well thought-out skit. It is simply taking trash bags full of ignorance and generalizations and dumping them onto Obama because of his race.

For the comics themselves, Obama poses a conundrum. “He’s not stupid, he’s not angry, he’s not fat. Who would want a jerk like that in office?” Bill Maher joked on “Larry King Live” after the election. “We need to get over our nervousness about making a joke about a black person. Obama isn’t black, he is the president. And when we make fun of him, we aren’t making fun of all black people in the same way when we make fun of George W. Bush, it isn’t like we are talking about all mentally challenged people. But he has got to give us something to joke about.”

One place that comedians can look back on for guidance into the future of comedy is the late, great Richard Pryor. In 1977, on the short-lived “Richard Pryor Show,” he does a skit in which he walks out as the first black president and fields questions from the press.

President Pryor explains that the 5 percent unemployment rate only reflects that of whites and that the minority unemployment rate has always been around 45 percent. He thinks that the increase in the space program funding will help send blacks to space, “…white people have been going to space and spacing out on us. …”

He declares that Huey Newton will be in contention for director of the FBI since he knows the ins and outs. That there will always be black players in the National Football League and that if he can help it, there will be black coaches and owners, too. The skit ends with a white reporter asking President Pryor about his mother being a maid. “After your tenure, will yo mama do my house?” The bit ends with Pryor rushing from the podium and charging for the man.

The skit has everything in it that comedy can be: brash-abrasive-cultivated nuance that illuminates the struggles of being both black and president.

For the next four years, America will learn to adjust to a new punch line.

So why are so many political satirists crying about how unamusing the Obama presidency will be? The standard reasoning is that, unlike Bush, McCain, Palin, the Clintons or even Nancy Pelosi, Barack Obama is “too perfect” and does not provide material for good jokes. But the inability of “Saturday Night Live” to produce one hilarious sketch on the Obamas has little to do with the quality of comedic material Michelle or Barack offer. It has more to do with the fact that mainstream American comedy has been, for far too long, racially segregated and has relied on two formulas in dealing with black people: one is racial stereotyping and the second is black invisibility.

Both the right and the left used stereotypes in their attempts to satirize African Americans during this past election season. Most egregious was a mailing by the Chaffey Community of Republican Women’s Group, which included faux “food stamps” with the image of Obama surrounded by images of watermelons and fried chicken. This sort of imagery dates back to D.W. Griffith’s racist 1915 film Birth of a Nation in which newly elected black senators run the federal government into the ground and litter the floors of the Capitol with chicken bones. The members of the Chaffey Community group defended their actions by saying it was simply satire.

The satire defense was also deployed by the liberal New Yorker magazine when it donned Barry Blitt’s cover of the Afro-sporting, gun-toting Michelle Obama and the turban-wearing Barack Obama back in July. In both cases, the racial stereotyping was so obvious that it produced loud public outcries.

For obvious reasons, the invisibility problem generates less outrage, but it is equally dangerous.

Each week, as I watched actor Fred Armisen imitate Barack Obama on SNL, I tried to figure out why I did not laugh. Armisen has Obama’s cadence and facial expressions down pat, but as Kelefa Sanneh noted in the New Yorker, there is no “back story” to this character. Likewise, when Maya Rudolph temporarily returned to play Michelle Obama, the skit between Michelle and Barack Obama was successful, not because it has anything to do with the personalities or personas of Michelle and Barack, but because anyone singing “Solid as Barack” to the Ashford and Simpson tune, “Solid as a Rock” is funny.

It’s not just that SNL does not give a back story to the Obamas or that a non-African-American actor plays Barack Obama; it is that these skits miss the complexities, contradictions and the interior features of African-Americans lives. On SNL and other mainstream political comedy shows like “Real Time” and to a lesser extent “The Daily Show” and “The Colbert Report,” the cast and writing staffs lack diversity, and it shows in the racial parochialism of the humor itself.

Perhaps Bill Maher was right when he said that Barack Obama leads to bad comedy because he is “too perfect” as a presidential candidate and that “liberals” and “comedians” (both of whom in Maher’s calculations all appear to be white) are “afraid of laughing at anything with a black person in it.” But, I think it goes deeper than that.

For such comics to consider Barack or Michelle funny, one of two things now has to happen: Either the Obamas must begin to feed into prevailing racial stereotypes (and therefore be seen as unfit for the presidency), or mainstream satirists will have to learn the cultural nuances of black America.

This would include not simply making fun of how white CNN pundits developed a media crush on Obama, but lampooning, as one YouTube skit shows, how Obama preps his swagger before each debate. SNL focuses on Obama’s intellect and verbal pauses but does not satirize his performance of the “cool” black man. Understanding both his swagger and cool requires an understanding of black bourgeois respectability, not just in opposition to caricatures of working-class blacks but as a source of potential contradictions and comedy.

There is a great debate about whether CNN’s “D.L. Hughley Breaks the News” and David Allen Grier’s variety show “Chocolate News” on Comedy Central are funny or offensive. The verdict is still out. I can’t help but wonder what kind of cathartic laughter Dave Chappelle would have been able to provide for us this year.

Imagine what he would have done with Jeremiah Wright or Barack’s unannounced visits to the home of white undecided voters in Ohio. It’s not that Barack and Michelle aren’t funny; it’s just that those who have been able to thrive in a predominantly white comedic universe will now have to hire more writers and actors (and hopefully producers and directors) who know how to work with the material that Barack and Michelle will serve up. If they are going to stay on top of their games over the next four years, white comedians and comic writers will have to acknowledge black interior lives and class and ethnic diversity. Then we’ll all have something to laugh about.

Salamishah Tillet is an assistant professor of English at the University of Pennsylvania and co-founder of the non-profit organization, A Long Walk Home, Inc., which uses art therapy and the visual and performing arts to document and to end violence against underserved women and children.