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Description
Feuling Parts BA Slim Air Cleaner Kit - Chrome - Red Filter - '08-'17 Twin CamFeatures Slimmer cage to give riders more right side leg clearance High flow billet aluminum velocity stack with optimal opening diameter, outer lip and internal (ID) taper Includes a highflow reusable air filter and one piece billet cage Clean look and eases installation when compared to the industry standard multi stack up construction Convertible backing plate offering optional cylinder head venting OEM style cylinder head breathing, routing into
Features
- Slimmer cage to give riders more right side leg clearance
- High-flow billet aluminum velocity stack with optimal opening diameter, outer lip and internal (ID) taper
- Includes a highflow reusable air filter and one piece billet cage
- Clean look and eases installation when compared to the industry standard multi stack up construction
- Convertible backing plate offering optional cylinder head venting
- OEM - style cylinder head breathing, routing into the intake with optimized vent hole locations to meet emissions standards
- Impressive horsepower and torque gains on any engine and exceptional gains seen on engines running modified and/or ported cylinder heads along with intakes and larger throttle bodies
- Developed and designed on the flow bench, dyno tested and track proven
- Made in the USA
DISCLAIMER: Not legal for sale or use in California on any pollution controlled motor vehicles.
Specs
| Product Name | Air Cleaner |
| Model | BA Series |
| Air Cleaner Shape | Round |
| Color/Finish | Chrome / Red |
| Base Color | Silver |
| Filter Media Material | Cotton Gauze |
| Material | Billet Aluminum |
| Features | Red Filter |
| Units | Kit |
| Riding Style | Street |
| Year | Brand | Model |
| 2016-2017 | Harley-Davidson | FLSTFB Fat Boy Lo |
| 2016-2017 | Harley-Davidson | FLS Softail Slim |
| 2016-2017 | Harley-Davidson | FLSS Softail Slim S |
| 2016-2017 | Harley-Davidson | FLSTFBS Fat Boy S |
| 2016-2017 | Harley-Davidson | FXDLS Low Rider S |
| 2016-2017 | Harley-Davidson | FXSE CVO Pro Street Breakout |
| 2016-2017 | Harley-Davidson | FLSTC Heritage Softail Classic |
| 2016-2017 | Harley-Davidson | FLSTF Fat Boy |
| 2016-2017 | Harley-Davidson | FLSTN Softail Deluxe |
| 2016-2017 | Harley-Davidson | FXSB Breakout |
| 2015-2016 | Harley-Davidson | FLHTCUL Electra Glide Ultra Classic Low |
| 2015-2016 | Harley-Davidson | FLHTK Ultra Limited |
| 2015-2016 | Harley-Davidson | FLHTKL Ultra Limited Low |
| 2015-2016 | Harley-Davidson | FLTRXS Road Glide Special |
| 2015 | Harley-Davidson | FLTRX Road Glide |
| 2014-2016 | Harley-Davidson | Road King Police FLHP |
| 2014-2016 | Harley-Davidson | FLHTKSE CVO Limited |
| 2014-2016 | Harley-Davidson | FLHXS Street Glide Special |
| 2014 | Harley-Davidson | CVO Road King FLHRSE |
| 2014 | Harley-Davidson | Electra Glide Ultra Classic Low FLHTCUL |
| 2013 | Harley-Davidson | FLHRSE5 CVO Road King |
| 2013 | Harley-Davidson | FLHTCUSE8 CVO Ultra Classic Electra Glide |
| 2013 | Harley-Davidson | FLTRXSE2 CVO Road Glide Custom |
| 2012 | Harley-Davidson | FLHTCUSE7 CVO Ultra Classic Electra Glide |
| 2012 | Harley-Davidson | FLHXSE3 CVO Street Glide |
| 2012 | Harley-Davidson | FLTRXSE CVO Road Glide |
| 2011-2013, 2016 | Harley-Davidson | FLTRU Road Glide Ultra |
| 2011-2013 | Harley-Davidson | FLTRX Road Glide Custom |
| 2011, 2015-2016 | Harley-Davidson | FLTRUSE CVO Road Glide Ultra |
| 2011 | Harley-Davidson | FLHTCUSE6 CVO Ultra Classic Electra Glide |
| 2011 | Harley-Davidson | FLHXSE2 CVO Street Glide |
| 2010-2014 | Harley-Davidson | FLHTK Electra Glide Ultra Limited |
| 2010, 2015-2016 | Harley-Davidson | FLHXSE CVO Street Glide |
| 2010 | Harley-Davidson | FLHTCUSE5 CVO Ultra Classic Electra Glide |
| 2009-2013 | Harley-Davidson | Road King Classic FLHRC |
| 2009 | Harley-Davidson | FLHTCUSE4 CVO Ultra Classic Electra Glide |
| 2009 | Harley-Davidson | FLTRSE3 CVO Road Glide |
| 2008-2016 | Harley-Davidson | FLHR Road King |
| 2008-2016 | Harley-Davidson | FLHTCU Electra Glide Ultra Classic |
| 2008-2016 | Harley-Davidson | FLHX Street Glide |
| 2008-2016 | Harley-Davidson | Electra Glide Police FLHTPI |
| 2008-2013 | Harley-Davidson | FLHRC Road King Classic |
| 2008-2013 | Harley-Davidson | FLHTC Electra Glide Classic |
| 2008-2010, 2016 | Harley-Davidson | FLTR Road Glide |
| 2008-2009 | Harley-Davidson | FLHT Electra Glide Standard |
| 2008 | Harley-Davidson | FLHRSE4 Screamin Eagle Road King |
| 2008 | Harley-Davidson | FLHTCUSE3 Screamin Eagle Ultra Classic Electra Glide |
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
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Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
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4.7 ★★★★★
Based on 21 reviews
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Product Reviews
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers
ISBN: 978-0-19-5396638
Read June, 13th-27th, 2017.
This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book.
After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time.
Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person.
Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma.
Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision.
The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017
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