Profil dan Video Manohara
Nama Lengkap : Manohara Odelia Pinot
Nama Panggilan : Manohara
Tempat Lahir : Jakarta
Tanggal Lahir : 28 Februari 1992
Nama Ibu : Daisy Fajarina
Nama Ayah : Reiner Pinot Noack
Saudara : Dewi Sari Asih
Keturunan : Indonesia - Perancis
Profesi : Model
Manohara Odelia Pinot adalah model belia kelahiran Jakarta, 28 Februari 1992. Lahir dari seorang ibu keturunan bangsawan Bugis, Daisy Fajarina dan ayah berkebangsaan Perancis, Reiner Pinot Noack, tak heran jika Manohara, nama panggilannya, mewarisi wajah dan bentuk tubuh yang rupawan.
Namanya mulai melambung saat masuk ke dalam daftar 100 Pesona Indonesia oleh Majalah Harper's Bazaar. Di usia yang masih belia ia sudah memiliki cita-cita mulia, yakni mempunyai sebuah yayasan sosial, guna membantu sesamanya yang kurang mampu.
Sayangnya kehidupan model yang menyukai belajar bahasa dan seni ini tak seindah yang dibayangkan sebelumnya. Manohara harus menikah muda dengan seorang pangeran dari Malaysia, Tengku Muhammad Fakhry di usianya yang masih 16 tahun.
Hal ini bermula dari pertemuan Manohara dengan Tengku Fakhry di bulan Desember 2006. Mereka dipertemukan dalam acara jamuan makan malam. Dari situlah, sang pangeran jatuh hati. Meski terpaut selisih usia, namun akhirnya kedua insan ini berpacaran dengan seijin ibunda Manohara, Daisy.
Tak lama setelah itu, Tengku Fakhry menyatakan keinginannya untuk memperistri mantan kekasih Ardie Bakri ini. Pada 17 Agustus 2008, Manohara beserta keluarga berangkat ke Malaysia atas undangan keluarga Tengku Fakhry.
Meski terkesan terlalu cepat dan sempat tidak menyetujui, namun akhirnya pasangan ini menikah pada 26 Agustus 2008. Ternyata pernikahan ini tak seindah bayangan sang Bunda, Daisy. Manohara ternyata tak bahagia dan kabur ke Jakarta melalui Singapura pada akhir 2008.
Mengetahui sang istri kabur, Tengku Fakhri berusaha membujuk sang istri untuk kembali pulang. Tak tanggung-tanggung, sang pangeran menghadiahi Manohara dengan sebuah mobil di hari ulang tahun Manohara pada 25 Februari 2009.
Tak hanya membujuk sang istri, Tengku Fakhry berusaha mengambil hati keluarga Manohara pula. Sang pangeran mengajak Manohara beserta keluarga untuk umroh di akhir Februari 2009. Di sinilah mulai terjadi peristiwa yang membuat sang bunda kalang kabut. Saat pulang, keluarga Manohara ditinggal begitu saja, sedang Manohara dan sang suami sudah dinaikkan ke pesawat.
Sekembalinya ke tanah air, pada pertengahan Maret 2009, Daisy melaporkan kejadian ini kepada Raja Kelantan, Malaysia namun tidak ada respon hingga saat ini. Bahkan Daisy mendapatkan pencekalan di Malaysia.
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# Pemerkosaan saat mau pulang indonesia
# Video siksaan
# Klimaks
BRAMA "Band Indie Brebes"
Brama Band
ßrama yang terbentuk pada tanggal 26 Oktober2006, memiliki 4 orang personil yang terdiri dari: Zy ( Vocal & Rhytem), Ayx ( Guitar ), Eltran ( Bass ), Tezza (Drum) .Dengan talenta yang dimiliki, ßrama mengusung jenis musik Pop Alternative, ßrama sendiri terbentuk melalui beberapa proses pergantian nama dan personil,seiring berjalannya waktu dengan kembali menyatukan visi dan misi bermusik, maka terbentuklah ßrama. Nama ßrama sendiri di dapat dari Zy (vocal) yang terinspirasi dari salah satu tokoh fiksi Brama Kumbara. Yang konon katanya merupakan sosok yang sederhana dan bersahaja serta di cintai oleh semua orang. Dari sebuah nama yang kita yakini dapat memberikan suatu motivasi untuk berkarya, karena kita percaya nama adalah doa, maka ßrama berharap dan terus berusaha untuk dapat menghasilkan sebuah karya musik yang dapat diterima dan di hargai semua kalangan tanpa terkecuali, dengan tidak melupakan kesederhanaan yang di miliki
Nama : Brama Band
Domisili : Brebes, Jawa Tengah
Personil : 4 Orang
Tahun Berdiri : 26 Oktober 2006
Genre : Pop Alternative
Influence : My Chemical Romance,The Calling,Goo Goo Dolls,
Weezer,
Data personil:
Nama lengkap : Fauzi
Nama Panggilan : Zy
Tempat,Tgl Lahir : Brebes, 01 Oktober 1986
Posisi : Vocal & Rhytem
Influence : Nirvana, The Calling, Goo Goo Dols
Nama lengkap : Arif Budiman
Nama Panggilan : Ayx
Tempat,Tgl Lahir : Brebes,13 September 1983
Posisi : Guitar
Influence : U2, The Cure,Weezer, Smashing Pumpkins,Blues Traveler
Nama lengkap : Eltrana Fakhru
Nama Panggilan : El
Tempat,Tgl Lahir : Brebes, 20 Februari 1987
Posisi : Bass
Influence : Incubus, Saybia, Muse
Nama lengkap : Tezza Yudie Ferdian
Nama Panggilan : Tezza
Tempat,Tgl Lahir : Brebes,30 Desember 1986
Posisi : Drum
Influence : RHCP,Muse,Funky Kopral
Jam Terbang dan Prestasi :
* 10 Besar Indie Blast Rita Mall Tegal 2006
* Runner Up Shopie Martin Music Indie Bahari Inn Tegal 2006
* Guest Star Grand Oppening Sety Family Café 2007
* Semi Finalis Kompilasi album “ Indie Jawa Tengah ” 2007
* Guest Star Festival Musik Asyik STMIK AMIK YMI Tegal 2007
* Guest Star Festival Musik Mix Cotume Party STMIK AMIK YMI Tegal 2008
* 23 besar “A Mild Most Wanted” regional Jawa Barat 2008
* 100 besar KFC HIT LIST “ Tunjuk Satu Bintang ” 2008
* Juara II A Mild Live Music on Campus UPS 2008
* Konser musik Rama FM with Brama,Sazuke, Kirana DEDY JAYA Plasa 2008
SONGs:
* Pasti Kau Temukan Cinta * Sahabat
* Kenanglah Diriku * Belahan Jiwa
* Kehilanganmu * Kemana Cinta
Kami slalu berfikir di antara nada dan syair, Kami selalu memikirkan teriakan telinga manusia yang rindu suara merdu, Kami ingin membiarkan suara, perasaan dan imajinasi kita berkarya sesukanya. Kita bisa sama-sama menikmatinya tanpa harus memikirkan keinginan satu dengan yang lain, Kami percaya segala sesuatu yang kami buat berdampak positif untuk semuanya, kami juga percaya segala sesuatu yang kami perbuat adalah hasil kerja keras dan dukungan dari berbagai pihak. Izinkan kami menjadi orang yang tau diri dan tau berterima kasih kepada Tuhan YME dengan apa yang telah di anugerahkan saat ini dan selanjutnya……..
SALAM MUSIK INDONESIA
Management:
Contact Persons 0817 9592 083 (Eko Setiawan)
0856 4276 6633 (Trees)
Base Camp Jl, S. Parman 27 Pesanggrahan Brebes-Jateng 52212
Email Bramaband@yahoo.com
blog http://bramaband.blogspot.com
Download Lagu brama :
Kenanglah diriku
Tak bisa
Love Of My Life ( QuEEN )
Love of my life you've hurt me
You've broken my heart and now you leave me
Love of my life can't you see
Bring it back bring it back
Don't take it away from me
Because you don't know
What it means to me
Love of my life don't leave me
You've taken my love you now desert me
Love of my life can't you see
Bring it back bring it back
Don't take it away from me
Because you don't know
What it means to me
You will remember
When this is blown over
And everything's all by the way
When I grow older
I will be there at your side to remind you
How I still love you I still love you
Back hurry back
Please bring it back home to me
Because you don't know
What it means to me
Love of my life
Love of my life
ProfiLe the Muse
The Muse that drove out of Glastonbury 2004 was a very different one from the Muse that had arrived. Following seven years of near solid touring, buzzing with nervous anticipation; their escalation from being the biggest band in Teignmouth in 1997 to one of the biggest bands in Europe by 2004 had been a rocket ride but still, closing Glastonbury was a major step-up, a classic Eavis gamble, and with a weary, mud-drenched crowd facing a long Sunday night welly-trudge home even Muse themselves doubted they could pull it off. “We got offered the headline slot which scared the shit out of us to start with because we didn’t think we were big enough to do it,” says bassist Chris Wolstenhome. “The day was muddy and miserable, and as it was the end of the festival we thought people would be kind of jaded, but it was completely the opposite.”
Pull it off? They pulled it off, tied it down, strapped it to a space shuttle launch engine and blew it clear out of the galaxy. Glastonbury 2004 saw Muse storm troop onto the high table of classic Glastonbury headline acts and prove themselves a formidable force in British rock. It was only with that triumph fresh in their throats, they claim, that they realised they’d ‘made it’.
So the band that walked onto the Pyramid Stage that night was a phenomenon hitting its peak. A band that, at the age of 19, were swept out of decorating jobs into private jets and limos as the A&R pack-hunt hunt for Muse began, that spectacularly broke every rule of Proper Rock from releasing an Egyptian/funk crossover debut single (‘Muscle Museum’) to writing riffs so elaborate in their brilliance that they threatened to garrotte anyone daring to play them (‘Plug In Baby’) to rocking up Nina Simone (‘Feeling Good’). A band that have more than doubled their audience with each new album released (1999’s ‘Showbiz’ shifted 500,000, ‘Origin Of Symmetry’ hit the million mark in 2001 and 2003’s masterpiece of epic malevolence ‘Absolution’ sold twice that) and establishing themselves as the most thrilling operatic sci-fi carnival on the European arena circuit inside five years. A band that, by tearing up the Big Sheds of Europe, were themselves being torn up by The Road. “I’m sure we go through cycles,” says Matt, “like having a great time then getting jaded where the vibes are just a bit dark. But with the second coming of that cycle, we were like, ‘oh god, we’re going downhill again, we need to go home and not book a tour for a long time’.
But, “Absolution” was becoming a cult hit in the US so with the highs of Glastonbury behind them and with two sold out dates at Earls Court that Christmas to bolster their standing back home, Muse hit the mid West circuit, stripping away the arena flam and bluster and re-discovering the broiling, accident-prone three-piece beneath. “We went from playing these massive arenas in Europe to playing to 200 people in some pokey hole again,” Matt laughs. “That’s the price of getting too comfortable on large stages. But it was good to be treated like a new band over there and get that feeling of being discovered again.
Invigorated, Muse took a month off to work out where ‘home’ was - Matt relocated to a town just outside Milan, Chris and his ever-growing family remained in Teignmouth and Dom stuck about in London’s ‘trendy’ Highbury - before reconvening in summer 2005 in the bat-infested Chateau Miraval studio in a Knights Templar town in Southern France. Matt: “It reminded me, if anything, of Devon. Most of the writing process started out there, being a quieter place and truly cut off from the lifestyle we had.”
Their previous albums, they figured, were borne of necessity; hurried in the face of impending tour dates and hobbled by the need to ensure they could be played live. This time, they took a No Limits approach - no tour was booked, no studio tomfoolery was out of bounds; they were to explore the technological possibilities of the ‘studio band’. However, the equipment at Chateau Miraval was, frankly, not up to the job of recording a Muse album, so the band decamped to New York to complete the bulk of recording in the Electric Lady and Avatar studios and to soak the record with much-needed dance floor flavas. “Hendrix’s ghost was hanging around,” says Matt, “and Bowie came in for a day and said hello. That was good; to get the nod of approval from the old boy. If we’d stayed in France for the whole album it probably would’ve ended up real prog. Songs like ‘Knights Of Cydonia’ would’ve been twenty minutes long. Going to New York for some reason tightened everything up and it got more groove orientated. Songs like ‘Starlight’ and ‘Supermassive Black Hole’ and ‘Hoodoo’, they all had grooves that radically changed when we went to New York, I don’t know if that was the vibe of the city or what.”
If Muse sound like a new band on ‘Black Holes and Revelations’ it’s because, after Glastonbury, they are: expanded of mind, settled of spirit and anything but sedentary of sound. Still, some of this might come as a shock: after opener ‘Take A Bow’ takes over where ‘Absolution’ left off – all doomy celestial synths and Matt’s preacherish wails of “You will burn in hell for your sins!” – we suddenly rocket off into unexplored quadrants. ‘Starlight’ is an Abba gig on the moon, ‘Map of the Problematique’ is Depeche Mode impersonating Queen for a Bond theme and, most surprising of all, ‘Supermassive Black Hole’ is a dance floor electro-metal stomper, resembling Beck giving Marilyn Manson a helium blowback in Studio 54. Which is not to mention the triptych of Italian folk-influenced meta-country that closes the record in a flurry of flamenco frenetics and mariachi horns. ‘Absolution 2: Back To The Planets’, this most certainly is not.
For continuity, in fact, we must look to the lyrical themes, where fans of the apocalyptic soundbite, the madcap conspiracy theory, the revolutionary rabble-rousing, the weird stuff about aliens inventing all earthly religions and other such classic Muse concerns will not be disappointed. The idea that identity cards are the first sign of the onset of the end of the world? That’ll be ‘Take A Bow’, Matt: “There‘s definitely a connection to Revelations with that. It talks about a time when people will not be able to purchase anything without a number or exist without a number. Instead of going for a job interview they‘ll just swipe you. They‘ll get your medical history, your financial history, the lot.”. The theory that the Earth is actually an expanding sphere, being sucked towards the gigantic black hole at the centre of the universe (as emotional metaphor)? ‘Supermassive Black Hole’, mate.
The fear of our civilisation going the way of the Roman Empire? Check out surf-prog album closer ‘Knights Of Cydonia’. The loss of hope in the face of unjustifiable wars? It’s all there in the central duo of ‘Soldier’s’ Poem’ and ‘Invincible’. And as for ‘Exo-Politics’… “That’s about the possibility of an orchestrated alien invasion created by the New World Order,” Matt argues, utterly without the aid of hard drugs. “There are some people who think that in the next ten years there’ll be an orchestrated alien invasion. Not an invasion but aliens will appear. Not appear but there’ll be discussions about it. There are definitely some funny things going on. A whole load of things, which, if you add them all together, add up to the feeling that something big is going to happen in the next ten years. You can look at it all and get overwhelmed with fear or you can look at it all and say it’s all being orchestrated as a way to keep people down.”
Well quite. But whereas ‘Absolution’ gazed on helplessly at the subjugation of humanity by corrupt world leaders and encroaching environmental or galactic disasters (and certainly, ‘Black Holes And Revelations’ has its fair share of climate change/oil crisis/global inflagration paranoia), on the new album’s pivotal track ‘Assassin’ Bellamy appears to be calling for nothing short of a global revolution – “Shoot your leaders down/And join forces underground…. Destroy demonocracy”.
“I think we’re approaching that time,” Matt nods. “If you look at those protests in France, the size and level of protest doesn’t really relate to what they’re protesting about. I think there’s something underneath that people are feeling, particularly the younger generation. We feel like we’ve been born into some pre-created situation where we don’t actually have any control over anything. We’ve got an aging population as well and that control factor grates a little bit. I feel, through this album, that I’m feeling pessimistic and frustrated about it all but at the same time I’m not against revolutionary moves and I wouldn’t be ashamed to have incited a small riot, if it’s for a good cause.”
The time has come. The New Muse Order is on the rise.
Black Holes And Revelations is released on 3rd July 2006 (Helium 3/Warners)
Track listing:
TAKE A BOW / STARLIGHT / SUPERMASSIVE BLACK HOLE / MAP OF THE PROBLEMATIQUE / SOLDIER’S POEM / INVINCIBLE / ASSASSIN / EXO-POLITICS / CITY OF DELUSION / HOODOO / KNIGHTS OF CYDONIA
Muse take to the road for a series of prestigious festival appearances across the globe throughout the summer which ends with their debut headline performance on the main stage at the UK’s biggest festival, Carling Weekend: Reading and Leeds - Saturday 26th, Reading, Sunday 27th, Leeds.
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