text:
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Generic Yaz Lawsuit
Generic Yaz birth control pills include Gianvi and Loryna. These medications all contain drospirenone, a new synthetic hormone that the FDA recently announced is linked to a higher risk of blood clots. Blood clots can cause a pulmonary embolism, heart attack, stroke, severe organ damage or organ failure, permanent disability, or death.
What You Can Do & How We Can Help
The Schmidt Firm, PLLC is currently accepting Mirena induced injury cases in all 50 states. If you or somebody you know has been diagnosed with a blood clot, you should contact our lawyers immediately for a free case consultation. Please use the form below to contact our Defective Drug Litigation Group or call us toll-free 24 hours a day at (866) 920-0753.
Generic Yaz
Yaz is the brand-name of a popular birth-control pill that was invented by the pharmaceutical company Bayer HealthCare Pharmaceuticals, Inc. It received approval from the U.S. Food and Drug Administration (FDA) in 2006, and since then, it has been used by millions of women to prevent unwanted pregnancy.
Generic Yaz include the following medications:
Gianvi: Approved by the FDA in 2010, sold by generic drug companies Teva Pharmaceuticals and Barr Laboratories
Loryna: Approved by the FDA in 2011, sold by the generic drug company Sandoz Pharmaceuticals
Generic Yaz Lawsuits
If you were injured by generic Yaz birth control pills, you may be seeking legal guidance regarding a future generic Yaz lawsuit. You may have heard about a recent Supreme Court decision, Pilva, Inc., et al v. Mensing. In this June 2011 decision, the Supreme Court ruled that generic drug companies could not be sued for failing to warn people about the risks of taking their drugs. The Supreme Court effectively decided to protect the interests of generic drug companies at the expense of people who have been injured by these medications.
Fortunately, if you used generic Yaz birth control pills, such as Gianvi or Loryna, you may still have a legal claim. Bayer, the pharmaceutical company that invented Yaz, manufactures and supplies ingredients that generic drug companies use. Bayer may still share legal liability for injuries caused by generic Yaz birth control pills. In fact, Bayer is already facing thousands of generic Yaz lawsuits.
What is the Problem with Generic Yaz?
The controversy surrounding generic Yaz birth control pills comes from one ingredient: drospirenone. Yaz, Gianvi, and Loryna all contain 3-mg of drospirenone, which is a new, synthetic form of the female reproductive hormone progestin. All birth control pills that contain progestin slightly rase a woman's risk of developing blood clots. However, the FDA has recently announced that "The FDA has concluded that drospirenone-containing birth control pills may be associated with a higher risk for blood clots than other progestin-containing pills." Drospirenone is no more effective at preventing pregnancy compared to other birth control pills.
What is the risk? One study found that women taking drospirenone were 75% more likely to develop a blood clot and twice as likely to have a heart attack or stroke, even just three months after starting the birth control pill. In real numbers, approximately 10 women for every 10,000 taking a drospirenone-containing birth control pill are expected to have a blood clot.
Birth control pills that contain drospirenone include:
Gianvi
Loryna
Safyral
Syeda
Ocella
Generic Yaz Blood Clots
The blood clots associated with generic Yaz form deep inside the body, and they are far more dangerous than blood clots that form on the surface of your skin (such as bruises or varicose veins). Deep Vein Thrombosis (DVT), a side effect of generic Yaz, occurs when blood clots form in veins deep within the legs, pelvis, arms, or body. If these blood clots break loose, they become embolisms, and float through the bloodstream until they become trapped within a major internal organ. Once a blood clot is stuck in a smaller blood vessel, it stops the flow of blood, which can cause severe tissue damage. Generic Yaz blood clots can cause pulmonary embolism, heart attack (myocardial infarction), ischemic stroke, severe organ damage, organ failure, disability, or death.
What are Generic Medicines?
When a pharmaceutical company invents a medicine, they patent this drug so that other companies cannot copy their invention. While a patent is active, a drug company has exclusive rights to produce, market, and sell their invention. Once this patent expires (usually after around 10 years on the market, sometimes more or less), other companies are allowed to sell identical versions of their brand-name equivalent. This market competition drives prices lower, and so generic drugs are usually much cheaper than the brand-name drug.
By law, a generic drug must be identical or biologically equivalent to the brand-name drug it is replacing. Generic drugs must contain the same amount of active ingredients, dose, strength, route of administration, safety, effectiveness, and intended use. The generic medications also have the same side effects as the original drug. Yaz and generic Yaz have the same side effects.
Generic Yaz Side Effects
Contact us today for a generic Yaz lawsuit if you or someone you know have suffered any of the following side effects of generic Yaz birth control pills:
Venous thromboembolism (VTE)
Heart attack (myocardial infarction)
Organ damage / organ failure
Hyperkalemia (toxic high levels of potassium)
Irregular heartbeat (heart arrhythmia)
Do I have a Yaz Lawsuit?
Attention Lawyers: We consider a referral from another law firm to be one of the greatest compliments. If your firm is interested in referring us a case or for us to send you a list of previous award judgments and/or average referral fees, please visit the Lawyer Referral section of our website.
New Birth Control Pills Increase Risk of Blood Clots
Study Links Yaz, Yasmin to Irritable Bowel Syndrome
Gianvi Lawsuit
Bayer Settles More Yaz Blood Clot Lawsuits for $57 Million
Gianvi Pseudotumor Cerebri Lawsuit
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No matter what type of case you have, you may contact us with confidence by filling out the email contact form below or calling us directly by dialing toll free 24 hrs/day (866) 920-0753.
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Treadstone prides itself on having a strong track record with the ATO and AusIndustry and going forward we want to make sure all our R&D Tax clients are properly prepared for any audit.
We would like to take this opportunity to remind all R&D Tax applicants about what makes up a strong and successful R&D claim. We would like to reinforce that record keeping is a basic requirement that need to be produced to the Commissioner of Taxation on request or your claim will be disallowed.
All your tax records, invoices, contracts and calculation sheets need to be kept for a minimum of five years.
Record keeping doesn't have to be hard and can be helpful by encouraging business to allocate costs to strategic business priorities.
Employees who are deemed 100% R&D do not necessarily require a timesheet, providing there is a signed employment contract valid for the period of claim in place and sufficient evidence to link them with the eligible R&D activities. The contact must include a detailed position description outlining the roles,responsibilities and activities carried out by the individual.
Those activities must be in line with the R&D activities submitted to AusIndustry. e.g. "developing and testing new software for R&D".
a description of the ownership of, or rights to, the resulting intellectual property as opposed to an end product.
final signed agreements with correct dates in respect of the year of claim. Details on the contract should include the work that will be carried out, those activities undertaken should be able to have a direct link drawn to the core activates submitted to AusIndustry. e.g. Contract states 'the development of XYZ formula'.
75% Base penalty for intentional disregard of a tax law by tax payer or their agent.
We can provide guidance for your record keeping helping you document your projects and identifying eligible R&D expenses. We can review your existing employee contracts, external contractor agreements and identify gaps for better records. We can show you some simple frameworks for collecting records without going to any trouble. Ask us for a timesheet template in excel format if you need one.
Email us and ask for an R&D compliance ready checklist to see where you can improve.


Blended St. & Hypocrisy Ave.
I wear atheist-type t-shirts to offend and/or to get laughs. So, I really don't care should people point to hatred, as I hold that quite rightly for the church. But the primary reason for wearing these T's is to let other atheists, or those who are questioning their beliefs, see that it's OK to wear your thoughts on your sleeves. So to speak.
Sometimes you can't see the forest fire for the burning trees.
And I'm relatively new to social sites so I'm sure you will allow me some time to acclimate.
But...much thanks to Grundgetta for her suggestion to throw some t-shirt profit money towards Atheist Nexus.
Part of my activism includes selling these t-shirts with $2.00 per shirt donated to the Freedom From Religion Foundation.
Thanks for the friendship and your kind welcome!
I have new hope that I will be able to make some friends here that are rational and on my wavelength now.
I am finally out of the sea of ignorance and on the shores of wisdom and knowledge.


text:
=begin

ParsesELB log files to find slow responses for ELB int processing time, backend processing time or upstream processing time.

Download ELB logs from S3 bucket:
aws s3 sync s3://pub-ext-elb/AWSLogs/000000000000/elasticloadbalancing/eu-west-1/2015/08/28 .
2015-08-28T08:08:11.042771Z publishing-external-elb-https 00.000.000.000:80 11.111.111.111:80 0.000023 1.069548 0.00003 200 200 0 3372 "GET https://mot-testing.i-env.net:443/ HTTP/1.1" "Mozilla/5.0 (Linux; Android 4.4.2; V919 3G Air Core8 Build/KOT49H) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/44.0.2403.133 Safari/537.36" ECDHE-RSA-AES128-GCM-SHA256 TLSv1.2

PC 15/01/16 ruby version

=end
require 'optparse'
require 'ostruct'

$version = "0.3";
$opt_debug = 0;

# process command-line arguments
class CommandLineOpts
	def initialize (args)
		@args = args
		@opts = OpenStruct.new
		@opts.verbose = false
		@opts.debug = false
		@opts.threshold = 1.0
		@opts.timer = [false, false, false]

		self.parse
		@opts.timer = [true, true, true] if (@opts.timer[0] == false and @opts.timer[1] == false and @opts.timer[2] == false)
	end

	def files=(files)
		@files = files
	end

	def files
		@files
	end

	def opts
		@opts
	end

	def parse
		opt_parser = OptionParser.new do |opts|
			opts.banner = opts.program_name + " logfiles"
			opts.separator ""

			opts.on("-1", "--1", "Compare time of elb internal processing time (sec). Defaults if none specified.") { @opts.timer[0] = true }
			opts.on("-2", "--2", "Compare time of backend processing time (sec). Defaults if none specified.") { @opts.timer[1] = true }
			opts.on("-3", "--3", "Compare time of response processing time (sec). Defaults if none specified.") { @opts.timer[2] = true }
			opts.on("-t", "--threshold n", "n in seconds of time threshold to compare against. Default is 1 sec.") { |n| @opts.threshold = n.to_f }

			opts.on("-d", "--debug", "Display debug information.") { @opts.debug = true }
			opts.on("-v", "--verbose", "Display whole log statement in results.") { @opts.verbose = false }

			opts.separator "To easily download elb logs from S3 bucket use this with your bucket name:"
			opts.separator ""
			opts.separator "$ aws s3 sync s3://pub-ext-elb/AWSLogs/000000000000/elasticloadbalancing/eu-west-1/2015/08/28 ."

			opts.on_tail("-h", "--help", "Show this message") do
				puts opts
				exit
			end

		end.parse!
	end
end

# parse an AWS ELB logfile to identify response times slower than the threshold
class Elblogfile

	def initialize (filename)
		@filename = filename;
	end

	# parse each logfile line to identify slower response times (1 = request, 2 = backend or 3 = response time) based on threshold
	def parse (timer1, timer2, timer3, threshold, verbose)
		IO.foreach(@filename) do |line|
			time1, time2, time3 = "-", "-", "-"
			date, elb, clientip, referrer, request_processing_time, backend_processing_time, response_processing_time, elbstatus, backendstatus, rbytes, sbytes, verb, url, remaining = line.split(' ')
			time1 = request_processing_time if (timer1 and request_processing_time.to_f > threshold)
			time2 = backend_processing_time if (timer2 and backend_processing_time.to_f > threshold)
			time3 = response_processing_time if (timer2 and response_processing_time.to_f > threshold)
			unless (time1 == "-" and time2 == "-" and time3 == "-")
				puts line if verbose
				puts "#{date} #{time1} #{time2} #{time3} #{url} (#{backendstatus})" unless verbose;
			end

		end
	rescue IOError, Errno
		puts "unable to read file " + @filename
	rescue => e
		puts "unable to parse file " + @filename
		puts e.message
	end
end

# Process command line args
$cli = CommandLineOpts.new (ARGV)
$cli.files = ARGV
if $cli.opts.debug
	puts "Processing files:"
	$cli.files.each { |f| puts f }
end

# Parse each supplied logfile for slow response times
$cli.files.each do |logfile|
	puts "=========" + logfile + "=========\n";
	f = Elblogfile.new(logfile)
	f.parse $cli.opts.timer[0], $cli.opts.timer[1], $cli.opts.timer[2], $cli.opts.threshold, $cli.opts.verbose
end

redpajama_set_name: RedPajamaGithub


text:
Pacino di Buonaguida oder Bonaguida (* ca. 1280 in Florenz; † 1339) war ein italienischer Maler und Miniaturist der Giotto-Schule.

Biografie

Das erste Dokument, in dem von Pacino die Rede ist, geht auf das Jahr 1303 zurück. In diesem Jahr hat der junge Künstler, beschrieben als artifex publicus in arte pictorum, seine Zusammenarbeit mit dem Maler Tambo di Serraglio, bei dem er wahrscheinlich seine Lehrzeit absolviert hat, beendet. Dadurch kann mit einer guten Annäherung sein vermutetes Geburtsdatum auf etwa zwanzig Jahre früher festgelegt werden.

Das einzige von Pacino signierte Werk ist ein Polyptychon mit einer Kreuzigung mit den Heiligen Nikolaus, Bartholomäus, Fiorenzo und Lukas (heute in der Galleria dell'Accademia in Florenz). Es trägt die Inschrift SIMON PRESPITERO S. FLORENTII PINGI FECIT HOC OPUS A PACINO BONAGUIDE ANNO DOMINI MCCCX... und befand sich ursprünglich auf dem Hauptaltar der Kirche San Firenze.

Seine Malerei zeichnet sich durch einen archaischen Stil aus, der stark mit den Vorgaben des ausgehenden 13. Jahrhunderts verbunden und von Giottos Frühwerken beeinflusst ist.

Der Katalog seiner Werke besteht aus einer umfassenden Palette von Miniaturen; besonders erwähnenswert sind die historisierten Initialen einiger Codices:

 Antiphonar 3 des Archivio capitolare di Prato
 Manuskript Nr. 1466 der Biblioteca Riccardiana in Florenz
 Manuskript Plut. 3939 der Biblioteca Laurenziana in Florenz
 Missale von Orsanmichele.

Weitere Miniaturen befinden sich in Cambridge (Fitzwilliam-Museum), in Venedig (Fondazione Giorgio Cini) und New York (Pierpont Morgan Library).

Das letzte Dokument über Pacino stammt aus dem Jahr 1330, als er sich in die Arte dei Medici e Speziali in Florenz einschrieb.

Werke
 Polyptichon mit Kreuzigung und den Heiligen Nikolaus, Bartholomäus, Fiorenzo und Lukas, 136 × 249 cm, (Signiert), ca. 1310–1320, Florenz, Galleria dell'Accademia, Inv. Nr. 8568
 Kreuz mit gekreuzigten Christus, 330 × 232 cm, Florenz, Kirche Santa Felicita
 Lebensbaum, 248 × 151 cm, Florenz, Galleria dell'Accademia, Inv. Nr. 8459 (aus dem Klarissenkloster in Monticelli, Florenz)
 Madonna mit Kind bekannt als Madonna Griggs, 79 × 53 cm, New Haven, Yale University Art Gallery, Inv. 1943.204 (bereits in New York, Collezione M.F. Griggs)
 Zerstückeltes und verstreutes Polyptychon
 Mittelteil mit Madonna mit Kind, 81 × 51 cm, Florenz, Galleria dell'Accademia, Inv. Nr. 6146
 Seitenteil mit Jakobus der Ältere, 47 × 28 cm, Rom, Christie's-Auktion vom 22. Mai 1980, Lot Nr. 301 (aus der Sammlung Cortese in Castagneto Carducci)
 Dossal mit Madonna und Kind, Heiligen und Stiftern, 62 × 159 cm, 1976, Baltimora, Walters Art Museum, Nr. 37.2494 (erworben 1973)
 Polyptychon der Heiligen Flora und Lucilla, zerstückelt
 Mittelteil Madonna mit Kind, 69 × 52 cm, Florenz, Palazzo Vecchio, Sammlung Charles Loeser
 Seitenteil mit Heiliger Flora 75 × 52 cm, New Haven, Yale University Art Gallery, Inv. 1943.203
 Seitenteil mit Heiliger Lucilla, 71 × 50 cm, New Haven, Yale University Art Gallery, Inv. 1946.13
 Polyptychon des heiligen Prokulus (?), zerstückelt und teilweise zerstreut
 3 Seitenteile mit Heiligen Nikolaus (?), Johannes der Evangelist und Heiliger Proculus (?) Bischof, je 71 × 45 cm, Florenz, Galleria dell'Accademia, Inv. Nr. 8698-8699-8700
 2 Teile der Predella Geschichte des Heiligen Proculus, je ca. 27 × 33 cm, Cambridge, Harvard Art Museums, Fogg Art Museum, Inv. 1943.110, 1943.111
 Predella-Teil mit Hlg. Prokulus feiert Messe in Anwesenheit eines Bischofs, Ort unbekannt (Paris, Asta Drouot Richelieu, 1992, Nr. 39)
 Predella-Teil mit Martyrium eines Heiligen (San Fiorenzo?), Bergamo, Privatsammlung
 Predella-Teil mit Auferstehung eines toten Kindes unter dem Grab des heiligen Proculus (Zuschreibung durch Roberto Longhi, 1948), Frankfurt am Main, Privatsammlung
 Seitenteil eines Polyptychons Jakobus dem Älteren, 61 × 36 cm,, New York, Privatsammlung
 Triptychon Wildenstein mit Kreuzigung, Trauer um den toten Christus, Himmelfahrt Christi, 46 × 78 cm, Ort unbekannt (ehemals in New York, Wildenstein & Co.)
 Tabernakel bemalt mit der Kreuzigung Christi mit Stiftern und Geschichten aus dem Leben Christi, 45 × 64 cm, Tucson, The University of Arizona Museum of Art, Inv. 61.118 (ehemals in New York, Sammlung Samuel. H. Kress, Nr. K1717)
 Altar mit der Kreuzigung, Madonna und Heiligen, 50 × 40 cm, Florenz, Galleria degli Uffizi (Inv. 1890 n. 9806)
 Kreuzigung Christi und Heilige, 27 × 20 cm, Ort unbekannt (ehemals in Florenz, Villa I Tatti, The Harvard University Center for Italian Renaissance Studies)
 Fragment eines Kreuzes bemalt mit gekreuzigten Christus, 139 × 35 cm, Ponce (Porto Rico), Museo de Arte de Ponce, Inv. 62.0259 (ehemals New York, Sammlung Samuel H. Kress, Inv. K126)
 Strauss Diptychon mit Johannes dem Evangelisten in Patmos, Madonna mit Kind auf dem Thron und Heiligen, Himmelfahrt Mariens Kreuzigung Christi, 62 × 81 cm, New York, The Metropolitan Museum of Art, Inv. 64.189.3
 Tabernakel von Chiarito,, 101 × 113 cm, Los Angeles, J. Paul Getty Museum, Nr. 85.PB.311 (aus dem Convento di Chiarito in Florenz Ende 1787).

Einzelnachweise

Literatur

Weblinks

Miniaturmaler
Maler (Italien)
Historische Person (Italien)
Geboren im 13. Jahrhundert
Gestorben 1339
Mann

redpajama_set_name: RedPajamaWikipedia


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Get yourself a handpainted typeface inspired by the tattoo artist lettering. Some ethnic motives are present as well, thanks to some vintage-looking characters of this adventurous script!
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text:
An interview with Eric Klatt : Regarding Fencelines.
by Richard Whittaker, Nov 11, 2012
In 2007 in works & conversations #14, we published a portfolio of Eric's photos taken in Vancouver, Canada in black and white; they appear, along with many others from the same body of work, in his recent book, Fencelines. Looking at them just now as they appear in the magazine, it's immediately evident how well they hold up without the color. Klatt has a fine eye for composition and for something else that's hard to sum up, but which lifts a photograph out of the ordinary. All the photos in his book are in color and made even stronger by that, which is saying something. Color is tricky and not so easy to turn to one's advantage. Earlier this year I sat down with Eric to talk about his new book.
Richard Whittaker: I think this is a remarkable book of photos. I looked through it very carefully and there's beauty here. I don't have the impression that you were looking for beauty exactly, but there's just something almost sublimely beautiful about the work, especially as the images accumulate.
Eric Klatt: I did hope for the series to find a structure in this book form. I think essentially because my experience with commercial galleries and exhibition has generally proved to be negative. I think it's diffusive in a way. It can diminish the experience of the work on the wall.
RW: What's the genesis of this project? What drew you to this in the first place?
Eric: I was looking for a way to use my time. The people I was staying with in Canada were going to their respective places, you know, to work.
RW: And what were you doing in Canada?
Eric: I was visiting a friend. And she had a roommate who I have come to be great friends with, also. So I was there visiting.
RW: Visiting your close friend?
Eric: Yes. We were trying to work out some sort of living arrangement—six months in the States and six months in Canada, whatever we both could be comfortable with. We were struggling with the logistics of all that.
RW: Right. And I just spoke with you yesterday. I hadn't known that she had actually died.
Eric: Yes, it's been eighteen months, now.
RW: I'm sorry to hear that. But this is how many years ago when you began making these photographs?
Eric: I started going up there in 2004, I think, and began to photograph this project in 2005. They would be out of the house and I would be looking for something to do. I found some old slide film that I had left in the refrigerator there. And I just went walking not really knowing.
RW: And this is in Vancouver in Canada, right?
Eric: Right. This is in East Vancouver, which is working class at its best. It's really mixed. There are people who have emigrated from China, from India. And their living spaces sometimes express a flavor of their cultures. The overall variation was really attractive. The subject matter was seductive. So I started to work with what tools I had. The lens was a PC lens, exclusively.
RW: Perspective control?
Eric: Exactly. It was a 35mm on a Nikon F3. And you get 100 percent on that viewfinder. So I was immediately able to have these layers of space fall right into place in terms of composition. This work happened more organically than any photography I can remember ever having been part of.
RW: And your own history in photography goes back a long ways before that.
Eric: It does, yeah.
RW: How far back, would you say?
Eric: I would say 1969 was the first picture I took that was concerned with some kind of expression or interpretation.
RW: And you used to teach, right?
Eric: Well, I did darkroom workshops and was a photography T.A. at Laney College for close to three years in what was then called Experimental College from 1973 to '76. It was an educational approach cobbled together in the name of experimentation. The photography department at Laney was highly reputed at that point for its ability to place people in commercial work. And we were, in some ways, a response to that. We were having the students use the medium in conjunction with other course work they were doing. Back then, a lot of people were returning from Viet Nam. They were on government subsidy to go back to school. And essentially we were really trying to generate some enthusiasm.
RW: So at that point you're teaching. You've already gotten a pretty good handle on how to shoot—mostly, what 35mm?
Eric: I was doing medium format and 35mm. Mostly 35. Before I went up to Canada I did the big roundabout—down the coast and back up through Owens Valley. Carrying small cameras was the way to go for me.
RW: This is back then in the 70's?
Eric: Yeah, like in '72. I got in my Volkswagen bus and headed out. I just kind of followed my nose. After going up Owens Valley, I found someone in Yosemite where I had worked before at the Ahwahnee Hotel as a wine steward for a couple of summers. We went travelling together and worked our way up north. She decided she wanted to get off at Point Arena where there was still a viable commune going on.
RW: Where is Point Arena?
Eric: It's in southern Mendocino county. So she decided she was going to stay and I decided I was going to move on. On the way out of town I picked up a woman and her son hitch-hiking. They were headed up to Canada. I said, "Well, so am I!" I ended up on an island called Salt Spring and photographed there for, I don't know, six or seven months. I actually photographed a rock band living there up on the side of Mount Maxwell. That's where I met Trish, on Salt Spring.
RW: I see. So let's get back to this collection of photographs. But first, am I right in thinking of you as having a strong relationship with composition?
Eric: Yes, indeed.
RW: Can you tell me a little bit about all that?
Eric: Well, it's difficult.
RW: Yes. I probably have a strong sense of composition, but I've never theorized about it. I just sort of instinctively have a feel for what makes a good visual image.
Eric: I guess I've gone back and forth on all that. When I first got back from my trip I enrolled at Laney and took a photo class. The instructor said, "You've got a hell of a sense of design. Do you want to come work for me?" I hadn't taken any photographic courses whatsoever. That's when I got hooked up in the Experimental College as a T.A. So that went on for almost three years. After I finished at Laney I went over to San Francisco State to take some theory courses with Don Worth and Jack Welpott. They were kind of high flyers at that time. And even then it was not strictly a matter of composition, but more about how you were conveying what you intended the viewer to see. And then in '79 I became a commercial photographer.
RW: Oh, is that right? I didn't remember that.
Eric: I needed some income. So I became an architectural photographer, you know, where I was provided, literally, with structural elements. I had to please myself to some degree, but, primarily, I had to please the client. That's when the element of composition became much more of a deliberate process.
RW: Okay. So let's jump back to Regarding Fencelines. You started walking around in East Vancouver. And how did that work for you?
Eric: The attraction was the unfamiliarity. I'm a West Coast person. We don't have much access to lanes that run down the middle of a residential block.
RW: The alleys.
Eric: The alleys. They're something I've heard exist in the Midwest and other parts. I hadn't really been familiar with them.
RW: You're right. Mostly our cities in the Bay Area aren't laid out like that.
Eric: They're not. And for me, it was beautiful. For instance, there were all these utilities. You know, our telephone poles are all out on the street. There, they run down the alley. So that was another layer.
RW: An added visual layer. And with these backyards there are layers beyond that, aren't there?
Eric: There are. And in terms of my thesis, that became an issue. What I was finding were the physicalities of exclusion, and even the backyard spaces led to another barrier. You know, I was by myself.
RW: You were feeling isolated?
Eric: I was.
RW: And excluded from connection with any community?
Eric: Yes. Yes.
RW: So the fence lines, these are the markers of exclusion.
Eric: Exactly. I took that basic understanding and ran with it, because the more you look at the images, the more you begin to see that there are many degrees of exclusion. There are the walls themselves, not being able to see what is going on inside, not having the ability to have any kind of connection, visual or otherwise, with the inhabitants of those places. Then, there are the simple boundary fences. And then this is going on between next-door neighbors. I don't know a lot of my neighbors and haven't for years. And of course, in many ways the physical environment, as constructed, encourages that kind of displacement.
RW: It's interesting. You could say that these fences are excluding. And you also could reframe it by saying that each little home group, each family is trying to kind of stake out a little sanctuary for themselves.
Eric: Yes. And I hope I'm making my point that this is a process, in effect, of isolation. You're making yourself and your own space paramount, maybe even something that needs, to one degree or another, to be defended.
RW: And it occurs to me that we can do that successfully in this day and age. We have television and other media piped into our homes. Before that, I didn't have all that entertainment brought into my living room. And if I wanted some connection with the world, I had to go out and connect with it. I mean with my neighbor, right?
Eric: Yes. It's something that has become more amplified as technology has become more pervasive. It's something that we find hard to avoid anymore. My daughter is watching television on her big screen while she has her laptop open doing some editing work, while she's got her telephone by her side and she's doing texting to somebody she knows, or updating her facebook page for, well, anyone. There is a kind of contact, but somehow it's not so human.
RW: It's a shallower contact isn't it?
Eric: Very much so.
RW: And yet there is a hunger for some kind of contact.
Eric: I wonder if it happens because we're stuck. There is, on one hand, this sense of sanctuary. But on the other, when we attempt to reach out, it will only be as successful as it is direct. I think there's a lot that gets in the way these days.
RW: What's being piped in is, in some sense, a resource for fulfilling certain needs for contact. But it's like fast food and not good, local organic food. And it has its own kinds of pesticides, too.
Eric: Certainly. And it's addicting, as well.
RW: So we don't get the nourishment that used to be provided in traditional societies where people had to go out into the society. We don't have to go out, because that "nourishment" comes in through our media devices. But that stream coming in is problematic.
Eric: It's problematic to the extent that there are so few alternatives that allow you to really make choices. I have my daughter living with me now. She's a very bright person, but she seems to have been somewhat co-opted by a real cheap cultural level that simply doesn't allow her very much choice. Even though she's very adept at using digital tools to her advantage, she does consume some empty calories. And though I do respect her choices, it's with the understanding that we're all in a growth process.
RW: Right. So as you're walking these alleys in Vancouver with your camera, is any of this actually in the back of your mind?
Eric: No. I'm at a point of walking meditation where there are no preconceptions about what I am doing other than what I am seeing. I get to a point where I just begin to flow, one thing to the next—a bit of a dance. I would move, stop: it was there. And that happened, generally speaking, whenever I went out. I don't know what to call it. It wasn't nirvana, but it was in a place I really loved being. And I would continue to go back out simply because I needed to feel that again.
RW: Can you say more about that feeling? I don't think people really would know what you're talking about unless they've gone out with a camera and know it from their own experience. But what is going on there that's nourishing?
Eric: For me there is a kind of a muscle.
RW: You're walking down the alley. Your eyes are open. You're looking, and what is it that's happening? What's this state?
Eric: It is highly focused. No pun. It's something that excludes anything other than the process that's going on. There's no daydreaming. There's no concern about anything else but what is happening in this moment through this machine, this way of seeing. And when it works, it can be successful, though, of course, to varying degrees. It's kind of a musculature and you've got to kind of warm up. Maybe I want to photograph for a few days. I'll have to go out and it will take me some time to get into a rhythm. But this process became much more than that; it got to a much more elevated plane. There was an initial joy about the circumstance; the physical circumstance, the visual circumstance, because it was just really attractive to me.
RW: Did you say there was a particular joy?
Eric: Oh, absolutely. This was an elevation that was beyond —immediately I was aware that it was beyond anything in the normal warm-up process I'll do. There was not the usual walk-around. Right away it was something that was just there for me. And to the extent that it became organic for me, it had a sense of spirituality for me. It spoke to me on a number of levels. I was usually walking during a time when there were few people around during a working week. I would rarely run into people. Although at times I might run into people who were questioning what I was doing, my purpose and my intent.
RW: Right.
Eric: And I found that generally I could explain to them what I was attempting to do. And they'd be happy to let me go about my business. I could understand how anybody seeing someone, kind of …
RW: A stranger.
Eric: Yeah, a stranger walking down the road taking pictures. What is that about? I'm sure photographers run into that problem all the time.
RW: So you were walking down the alleys and what were the things that would actually make you take the photograph?
Eric: That's difficult. When you're walking you're seeing different levels, different planes of distance as you move, and you see different elements of mass. How do things fit together? In some sense it's a puzzle. That's the way I would approach things when I was doing commercial work. But this was something I was able to just flow with. It had nothing to do with anybody else's expectations. And the kinds of graphic elements, given my way of seeing, just dropped into place without very much manipulation at all. So that's where I got the sense that this was becoming some kind of communication I hadn't really felt before.
RW: Opening the book at random, here on page 55, you're got this fabulous barrier of trees and a fence. Now just visually that's—you couldn't resist that one, right?
Eric: That was very easy to do. It clearly showed the owners' intent to keep themselves maybe safe, but certainly to keep prying eyes out.
RW: And also, as an image, it's just very strong. Boom.
Eric: Yeah, it's a large central mass with some nice peripheral support. There's the layering of the fence with the juniper or cypress trees crowded together, just behind, no breathing room in between, which they use for hedging quite a lot. Western Canadians have so much water, at the moment, anyway, that they really like to create organic fencing.
RW: Now here on page 58, I mean visually I love it, because look at that car peeking out. Then tucked in on the other side of the image is that motorcycle. Just graphically it's wonderful. And that telephone pole, or whatever, in the middle. That must have been just a delight for you to find.
Eric: Oh, it was wonderful. The thing that I enjoyed most about the play in this one is that the motorcycle is out of scale. It's almost as if it's on its own little display shelf. But it looks like it's a quarter scale to everything else around it.
RW: That's right. That's right.
Eric: I thought that it was just really—it gives you a little double take, but it's very precious over there by itself.
RW: Oh, absolutely. It's a great image. I mean these are just wonderful photographs, every one of them. And turning pages — wow, look at that. This is page 68.
Eric: The book is designed to work on a couple of levels. The initial level is basically about the juxtaposition of the facing pages and how images work with one another; the space between them gets filled in by the viewer. Here on page 68, the letter "A" is somehow off-putting, something about disproportion. But somehow it's also really attractive, something about the power of the shape. The facing image contains a little letter "A", the first letter in the word 'attack', on the rearmost section of an advertisement. Of the two together, there is something about a tension between figurative against the literal.
RW: I mean it's such a big, prominent letter A.
Eric: Yeah, it's massive. Isn't it something? On the back of this person's garage? And it kind of mimics the roofline.
RW: It does.
Eric: It supports the roofline. And it really is wonderful just by itself without any reference to its alphabetic quality.
RW: Wow, look at this one here, page 74. That must have had special meaning for you. There's a VW mini-bus all wrapped in transparent plastic like some apparition or like some giant present.
Eric: Absolutely. In fact, I was told that this one had to be included. It was a present for me related to my having gone there initially, so many years before, in a Volkswagen bus.
RW: It's like the portrait of a memory, then, isn't it? I mean it's almost like a dream image.
Eric: It is. Yes. And, as well in that personal sense, it became parenthetical within everything else I was doing in the book. I think the plastic was intended to keep anybody mildly interested out of the bus, but it's really there to protect against the weather. But yes. It's like a dream. There is a veil and, in the way I saw, the pretense of a barrier. When I took the photo, I knew it. And when I reviewed what needed to be in the book, it had to be there.
RW: Yes. So let me see if this works for you. I don't usually go out anymore on purpose to take photographs, but I did a few months ago because of an article I'd written. Afterwards I realized I needed to have some images to go with it. So I went down to this strange little town north of Monterey called Sand City, which had intrigued me. I thought I'll just drive around and take some photos. You know? So I'm down there looking for photos. And what is it that suddenly makes me stop and take a picture? It's a process where I don't have to be saying anything in my head. I'm looking, not thinking.
Eric: And doesn't that just happen to you? I mean you have a certain process going on when you're doing photography in conjunction with a piece you're writing. But there's no deliberation that has to go on in order to create.
RW: You're right. I have a mindset, which I don't have to spell out in words. I know what it is. There's also the case where it takes some time to see something, but I'm used to this quick take.
Eric: Yeah. That's the beauty of photography. The medium allows for such spontaneity. But I saw those photographs of yours. And the sense I got was that they were distinct. They were autonomous. They didn't necessarily have to link to what you had been doing down there. You'd gone to an exhibit, right?
RW: An opening, yes.
Eric: But what I saw was something specific that happened graphically for you that seemed to have no relation to the opening. Except I think maybe there was a portrait of one or two of the participants.
RW: Well, those two weren't in the opening. They were people I found by chance just because I spotted this curious thing out on a sidewalk. Moving towards it, it turned out to be this interesting sculptural fountain. And these two people turned out to be the fabricators. I thought it was visually interesting. Describing the whys and wherefores, the words start piling up. But the process is almost instantaneous.
Eric: The process of photography…
RW: Yes. Spotting something.
Eric: Right.
RW: And knowing it's worth focusing more closely.
Eric: Maybe this is a little too categorical but I think the best modern photography is impulsively drawn, where the speed of the machine gets put into play.
RW: I mean it's based on seeing and, boom, I see it. I don't have to explain it to myself. It's based on something not involved with language. It all happens in a different way and much more quickly.
Eric: You could call it a resonance. The quality of light, the quality of structure, the components that are going to make it up. These things, as you become more conversant with the medium, get to be more and more spontaneous as time goes on. And you begin to know what has resonance for you. You tend to move towards it. And that's what you did.
RW: Yes. After awhile, you pick that resonance up very quickly and it can resonate on different wavelengths. It may be delicious or possibly ironic or humorous and also visually interesting. This is almost instantly perceived.
Eric: Yes. I think that's what was happening with the images that found their way into this book.
RW: I mean like that wrapped Volkswagen. That is precious in so many different ways. And you instantly recognized that, right?
Eric: I did. It was probably one of the only images that made it to the book that had an immediate sense of history for me. Everything else I was seeing was new and so novel, but when I ran across this bus it pulled up a wave of nostalgia. It helped me. I mourned for the past. But it kind of awakened possibilities for the future, in that it was wrapped for me as a gift. In a way, it clarified what I was doing as I photographed. The fact that it was wrapped in this plastic coat, was something that put it at a distance, more in the past than anything else I saw when I was doing that work. And so on that level it had a value that photography can bring which becomes kind of the memento mori, as well as a hint about possibility. You know?
RW: Yes. Did you, when you spotted that, did you almost inwardly have like a little dance of joy?
Eric: Oh, it was amazing. I saw it and I just said, wait a minute. Is this actually—am I back there? Is this 1973 again? It just had that quality and that weight of memory and value. It was gravitas. I guess that's what gravitas really means. And initially I didn't consider it as part of the book, because it didn't seem to fit my criteria. But I couldn't deny it because it had so much meaning for me. And then I realized it could mean something more particular to someone who didn't know my history because we all feel an exclusion from our past, a distance, like it or not. That's when I knew it would go in. Plus I had a perfect foil to go on the adjacent page. That underscored the feeling I had about a flow or even a spirituality in placing images for the book; how they all fell into place, almost without choice, once I understood that what was critical was their juxtaposition and coupling. I'd been struggling with that.
RW: Say more about the spirituality aspect.
Eric: It had to do with process. You could almost say it was, I don't like to say prayer, but prayer—to the extent that you're allowing yourself to become perfectly clear and in the moment. I call it a sense of spirituality because I was able to be so completely in the moment. It just occurred to me that this was my— oh, I don't know. You do photography for so many years and then you come upon something that's just—there's a kind of flow; there is a universality about the flow of the process that you're doing. And you can't deny a sense of spirituality in that.
In terms of my outlook on things, I guess I'm a humanistic agnostic. But this all had something beyond my ability to define. And I was really happy to let what was going on around me and in front of me, and, I guess, within me, have its way.
RW: Yes. It's hard to find the language for these things, isn't it?
Eric: It is for me.
RW: Probably for most of us.
Eric: Because I think, as people have said before, if you speak about it, you don't really know it. I'm certainly willing to take that position, because I do feel inarticulate about that process, specifically. It had so little to do with words that it leads me to think that real spiritual experience has little or nothing to do with words. If you can define your God, then you really don't have a handle on the immensity of it.
RW: You mentioned the word prayer. I think you said at one point, "I was so completely there." Some people say that that's the experience of being present, of presence. And that's often linked with the spiritual, or prayer—this level of being present. Does that make sense to you?
Eric: Oh, absolutely. I think you're absolutely right. And that's why I tend to call it a spiritual experience, because the process felt, made me feel, like I was one with the process. As if what was going on was something that was so organic that I had very little choice about it, about what was happening and how I was seeing. I didn't need to see prints to know what I was feeling or that later, when the slides were processed, that they would have value. It was one of those things of the journey being more important than the destination. This certainly was the case. Only much later did I begin to think about a book although I knew what I had done came from a consistently centered viewpoint.
RW: Would it be accurate to say that in this process for you there was a resonance that went right to your core?
Eric: Indeed. Yes, absolutely. Yet, I'm not even sure what core is. I think that what I was doing, the process and my involvement in that process, was the core. It was all the core.
RW: One last thing. As far as I'm concerned, this is one of the more beautiful books of photography I've seen in a long time. How do you view that? How do you feel about my using the word beauty in regards to this?
Eric: I kind of wrestle with the idea of beauty generally and especially photographically. I try to avoid the saccharine. I think maybe, when you take individual pictures, they can have their own beauty. Does the image seem to have an expression of integrity, of unity, structurally speaking? This book was designed to be beautiful as a process for the viewer. I think the book form is the paramount vehicle for photographs. The book creates a space within which the viewing experience can be extremely personal. It can be something that can be taken in at one's own pace. So what I tried to do here, as best I could, was to place the images much like a gallery within the framework of the book. Keep it as simple as I could and as direct as I could. So the book in itself? I think the book is beautiful. And each image can be beautiful in terms of what it realizes within the frame. So yes, there is beauty here.
RW: I find, looking through the book carefully, that it's a cumulative beauty. It's hard to put your finger on it. I would be tempted to think that this was almost a by-product, never an intention. And you spoke of it being a spiritual thing. Perhaps if something is spiritual, in some sense, it's also beautiful even if that was never the thought.
Eric: I had a notion that the book could be arranged in a way where structure would be somewhat consistent, with some surprises. Every image in the book is horizontal. I have little word breaks, intermissions essentially, designed to break up the flow so that the eye has something different to do. So it becomes a rhythm that has its own beauty, too.
When you find yourself at the end of the book, hopefully there will be an accumulation that brings a positive response with a sense of meaning. For me the spiritual aspect of all this came with the initial act of gathering the images.
You probably saw that there were no people in the book. When you put a face in a photographic composition, there's an imbalance that occurs immediately, because it's our nature to go for the human face. It tends to preclude the things that go on around it providing whatever context. So I wanted viewers to find whatever meaning they could by moving around in the image. What I wanted is called a "democracy of content." I didn't want any keystoning, any emphasizing of the periphery or centrality or stressing any radical angularity. Using that perspective control lens allowed me to flatten things even more. I wanted that to happen so that people wouldn't be drawn away, but drawn through and around.
RW: That's a great idea.
Eric: Some of the photos do have a greater angularity that draws you along gently, but allowing viewers to meander through each image was my overall intent.
RW: And although there are no people in any of the images, this is all about people.
Eric: Yes, people who may or may not have been there behind those walls, behind their fences, unseen. I sometimes felt myself to be a third party, an observing, but still participating part of a triangle. In a way, I was doing what I ask the viewer to do, search for the face-to-face connection that will not come. When there were two buildings within the same frame, I would look for whatever might go on between who I imagined were neighbors and whatever they were creating, whatever they were presenting, whatever they were withholding, but in the end, seeing what was lost between them. So I also felt excluded. People lived there, but I couldn't find them. I couldn't get in. To some degree or another all these images are about not being able to get in, even into the bus.
You can learn more at eklattphotowork.com
Richard Whittaker is the founding editor of works & conversations and West Coast editor of Parabola magazine.
On Jan 26, 2015 Eric wrote:
BUT WAIT, THERE'S MORE !!! A page turn of the book can now be found at Vimeo.com with Regarding Fencelines in the search field.
On Aug 22, 2013 Walton James wrote:
Saw this book slowly. The colors come through a bowler hat on a trumpet solo but the bones are brass.
On Jul 7, 2013 Sonya wrote:
Thanks for this nicely descriptive interview. As I'm sure the artist knows, good
expressive work displays some greater or lesser degree of autobiography. That passage about the triangular sensation of his image making particularly sounds as if the visual impenetrability and resultant feelings of isolation, projected for the bulk of western culture, as to include some elements of the photographer's psyche as well. This artist's pointed expression about cultural conditions seems like it would hold as much weight as personal investigation as it does social commentary.
On Dec 12, 2012 Jeff Breen wrote:
The quality of the book is excellent.
The pattern remind me and draw me in.
There's something peaceful, disturbing and puzzling about each picture.
For me, going through the book is a slow process.
It challenges me to make a relationship.
Thank you for putting it together!

redpajama_set_name: RedPajamaCommonCrawl


text:
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text:
/**
 * @file
 */
#ifndef FSM_STATE_H
#define FSM_STATE_H

#include <memory>
#include <set>
#include <sstream>
#include <string>

/**
 * Represents a single state in a finite state machine.
 */
struct State {
  /**
   * Construct a state whose name is the empty string.
   *
   * The constructed state is neither accepting nor initial.
   */
  State() {}

  /**
   * Construct a state with the given name.
   *
   * The constructed state is neither accepting nor initial.
   *
   * \param s The name assigned to the state
   */
  State(std::string s) :
    name(s) {}

  /**
   * Names a state for debugging output.
   */
  std::string name = "";

  /**
   * `true` if an FSM accepts in this state.
   */
  bool accepting = false;

  /**
   * `true` if this is an initial state for its FSM.
   */
  bool initial = false;

  /**
   * Returns a DOT representation of this state.
   *
   * A string returned from this method can be placed in a GraphViz digraph in
   * order to print an entire FSM.
   *
   * \returns DOT formatted string representing the state
   */
  std::string Dot() const;

  /**
   * Construct a new state from a range of existing states.
   *
   * The resulting state has a name derived from the names of the passed states,
   * and derives its properties from these states as follows:
   * * If any of the passed states are accepting, the combined state is
   *   accepting.
   * * If there is exactly one state in the range (and it is initial), the new
   *   state is also initial.
   *
   * \param states A range of states to combine into a new state.
   * \returns A new state derived from the given range of states.
   */
  template<class Iter>
  static State Combined(Iter begin, Iter end);

  /**
   * Wraps \ref State::Combined(Iter, Iter).
   *
   * This method is a wrapper that allows containers to be passed directly by
   * calling `std::begin` and `std::end` on them.
   */
  template<class Container>
  static State Combined(Container in);
};

template<class Iter>
State State::Combined(Iter begin, Iter end)
{
  auto size = std::distance(begin, end);

  auto state = State{};

  std::stringstream name;
  name << "{";

  auto i = 0;
  for(auto it = begin; it != end; i++, it++) {
    name << (*it)->name;
    if(i != size - 1) {
      name << ", ";
    }
  }

  name << "}";
  state.name = name.str();

  state.accepting = std::any_of(begin, end,
    [=](auto st) {
      return st->accepting;
    }
  );

  state.initial = (size == 1 && (*begin)->initial);

  return state;
}

template<class Container>
State State::Combined(Container in)
{
  return Combined(std::begin(in), std::end(in));
}

inline std::string State::Dot() const
{
  std::stringstream out;

  out << "\"" << name << "\"";

  if(accepting) {
    out << " [shape=doublecircle]";
  }

  if(initial) {
    out << ";\"secret\" [style=invis,shape=point];\"secret\"->\"" << name << "\"";
  }

  return out.str();
}

#endif


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This package arrived for me on Saturday and I was very pleased by how quickly it arrived! Inside was the Carry Pack I ordered as well as a Single Cloak mag carrier for my LC9S. I unpacked everything and took a look at the various holster configurations before deciding to try out the Belt Slide configuration. Everything with assembling the holster was very easy to understand and took me all of maybe 5 minutes to configure. I have been happily wearing the holster and mag carrier for the past two days and they are very comfortable. Both the pistol and the magazine are seated well into the holsters with no retention issues whatsoever. I have no wiggle or sliding for either pistol or magazine, yet both come out of their respective holsters without hanging up or dragging my belt into my armpit. This makes the fifth Alien Gear holster system I have purchased for the various pistols I own and I continue to be very pleased with the quality and comfort of these holsters. I love them so much, my son and daughter both now have Alien Gear for their respective sidearms after hearing me talk about mine so much. I quite frankly cannot say enough good things about this product or company. Keep up the excellent work!
Ordered a shell to accommodate a laser and was stressing on how I was going to add a magnet to it. Of course, Alien Gear made it with a magnet already installed. Of course they did. I'm very pleased with this surprise.
Does the job, good retention, lots of ways to carry it. I would give it 5 stars if it was thinner.
At first look it may seem a lil strange specially for someone that has never wore an ankle holster in his life, but what I can tell you is that after a few hrs you can literally forget that you are wearing it or that is there because it is very comfortable and it doesn't pinch or rub against the skin making this in my mind THE BEST ANKLE HOLSTER in the market because for all that ones that I saw before purchasing this one I can truly say that I would buy another without even a doubt and the fitment of the gun is perfect or better yet is a match made in heaven.
I called about getting some replacement for the hex nut and bolt. Customer service replaced them and added some extras for good measure. Very professional.
Being new to carrying a handgun, I really had no clue where to start with holsters. Thus why I went with the modular system. I figured it would give me the chance to find what I like without spending a whole lot on different holsters. If you're new to carrying, be it concealed or open carry, I highly recommend this system.
I love this shape shift system, to be honest I was hesitant to spend $100 on a holster. Glad I decided to jump in anyways, I use it for edc (everyday carry) some time multiple configurations thru out the day. The majority if The time I use the iwb set up and with my full size pistol it's comfortable and very concealed.
Great product, it is what I was looking for. Great design and fit. Cant wait to take to range a practice drawing.
As someone new to conceal carrying, after researching many different holsters, I decided on this one. I am sure there are many great holsters, however, what caught my eye was the winged design. after carrying for a bit, I am glad I decided on this holster, especially as a bigger guy. PS, I will eventually get the rest of the expansion pack.
I have been using Alien Gear holsters since 2015 but had not bought the shape shift setup. Having had it and played with it for a few days now, I am sold. The ease of swapping shells for different firearms is nice. The different options allow me to experiment with different types of carry without adding to the pile of non used holsters in my basement. I will be recommending this as an option to all my pals.
I bought this after obtaining my Permit To Carry for my Sig Sauer SP2022, the material is comfortable yet sturdy, you can tell that the material is quality as well, the holster came with some extra clips and rings. I will be purchasing one for my CZ 2075 rami! Worth the money!
i really like it holster, i just should have done my home work and bought the core carry pack..
Impressed with the quality and comfort. I wore out a leading competitor's IWB in a year. This one seems stronger and is showing no signs of wear at all. The adjustable height and cant could be a notch more, but is appreciated as it is. Quite a good value for the money, considering AG is an upmarket holster. I'd rather buy directly here than via Amazon. The cost is a wash, and AG is better to deal with. Chat feature works well for questions even late at night, after work.
I bought these when I got my IWB holster because I felt they would be sturdier. They do feel sturdier, but the bottom flares out, so if you lean up against anything, they have the potential to tear your shirt. (Found out the hard way). I am switching back to the clips that come default with the IWB holster as they tuck under and not out. This has much less potential of tearing your shirt when leaning up against anything. Otherwise, these metal clips are great.
This was the second holster I purchased from Alien Gear and just like the first time, the customer service was phenomenal and the holster arrived ahead of the timeline stated. The Cloak Tuck 3.5 is very nice and comfortable to wear all day. I will definitely be purchasing another holster in the future.
My girlfriend got me the holster for a Christmas gift and I love the product. Great quality for the price and not a single complaint. Very comfortable and very discreet. Couldn't be more satisfied.
I just got my first gun, a full size M9. I thought I would just take it to the range because it's too big to carry of course. I got this holster just to test out the concealed carry comfort. I was not expecting it to be comfortable. I was expecting it to be very uncomfortable and I would eventually get a compact to carry with. This is amazing, I hardly feel it when I'm carrying and it forms well to my body! I'm 5'9" about 200lbs and this holster is more comfortable than I could have ever imagined! When I get a new carry gun I will be shopping at Alien Gear again for sure!
The best form of a good review is a repeat customer. I have purchased items from Alien Gear previously, and will do so again. The quality and performance are great. The customer service is exemplary, including the live chat. I recommend this company and their gear without reservation or hesitation.
The holster is the best holster I own, however, the screws keep coming out , I used Teflon thread tape on the screws and it fixed the problem. I will highly recommend this holster.
I received the shell back in June 2018, and went to use it today March 2019 and realized the wrong trigger guard was in the package. I called the customer service line and without another word they are sending the correct one out. This is why I have been purchasing all of my holsters from Aliengear since 2016. Thank you!
I've had the ShapeShift modular holster set for almost a year now and it has been amazing. Prior to making this purchase I did my research on holsters. I spoke with people about what they like, read online reviews, and watched YouTube reviews on various different holsters. The one that always stood out to me was the Alien Gear ShapeShift modular holster. Having the ability to switch between 4 different ways to carry all out of the same box is amazing. It is also wonderful that if you want to carry a different gun you don't need to buy an entirely new set, you just need the shell for that gun and it will fit with your holster you already have. I've not had a single issue with the holster even now almost a year later it is still good as new. The gun sits secure but easy to draw and the IWB holds it so close you rarely have to worry about it printing while out running errands. All in all I am very pleased with it and couldn't ask for a better holster design.
Happy with my items I received. Fits my 9mm just as it said it would. Just needs to be broken in to fit real good.but overall I give it a 94%. Thank you.
I just got this system today for my new Colt series 80 competition pistol. My only complaint is the instructions weren't very clear, but a short trip to YouTube fixed that. Quality is great, price was great for everything included, 100% you jump on the price.
I have absolutely loved this holster. It is extremely comfortable. I initially purchased the core carry pack, but ultimately decided the IWB was my preferred setup. After wearing the holster all day, with a good part of sitting and walking, the holster is comfortable and non-fatiguing. Great price for a high-quality hybrid holster.
I have used this holster every day for 2 years. once the leather was broke in I didn't even notice I was wearing it most of the time. Only thing I didn't like was the screws coming lose. But a little Loctite fixed the issue. it would be great if they included a small amount of blue Loctite with the order.
I am a new gun owner so I wanted to research holsters as much as I could before making a purchase and everything I saw about this holster system looked great. I watched multiple video reviews that showed how comfortable these holsters were and how you could try different carry positions which really appealed to me as I was not used to carrying a gun and didn't know what would work for me. I ordered this set up the same day I bought my gun and waited very excitedly for it to arrive, sadly when I got it and tried it, it did not live up to my expectations. The IWB was difficult to draw from the 4 o'clock position and scratched my back and was also very difficult to remove the holster itself to try to change the retention. When I tried the smaller IWB holster at appendix it felt very bulky and pushed my buckle out so it was very visible and obvious that I was carrying. I had very high hopes for this holster system but it seems it just isn't for me. I went to my local gun store and purchased a regular, plain kydex holster that I can wear at 4 o'clock very comfortably that won't scratch my back and at appendix with little to no print that is also very comfortable. I still think this is a good system and even recommended it to someone at my CPL class, just not for me. Will be returning for a refund unfortunately.
I've had my PPK\S for many years and tried so many IWB holsters it makes my head spin. Issues with comfort, retention, holstering all went away for $38.88 (before shipping charges). I've worn it and with very little break in it has been very comfortable and retention is good. Very adjustable so draw and return is very smooth and printing is minimal. Don't waste money or time on any other IWB holster for your PPK\S.
This is a fantastic holster with great retention, but it suffers from one major drawback.. The retention screws have a bad tendency to unscrew themselves. If you're going to use this holster, make sure you inspect it every time you put it on. I use the low retention configuration, wasn't paying attention once time and now I'm missing a screw and spacer. In summation, do your due diligence and this is a fantastic holster that can't be beat, but make sure you pay attention or it could become really loose, really quickly.


Phoenix Sky Harbour International Airport is the gateway to the Sonoran desert with its hot, dry summers and mild winters. Downtown Phoenix is just three miles (5km) from the airport and has a number of museums, golf courses, sports attractions, and an aquarium to keep visitors entertained.
The airport is connected to Phoenix via a Metro line, but the city is far easier to navigate with your own wheels. The Phoenix Sky Harbour International Airport has a selection of shops and restaurants as well as an art exhibit in each terminal.
The airport is situated three miles (5km) southeast of Phoenix.
The PHX SkyTrain transports passengers between terminals, parking lots, and the 44th Street METRO Light Rail, from where it is possible to connect to the city centre, all free of charge. The Valley Metro system, consisting of the Metro Light Rail and a fleet of buses, charges a standard fare. The Valley Metro bus Route 13 stops directly at Terminal 2. Airport-to-door shuttle vans can also be arranged. Many hotels and resorts provide a free pick-up service for their guests; taxis and mobile app based taxi services like Uber are also available.
Local time is GMT -7.
Tel: +1 602 273 3300.
Tucson International Airport is a short drive from downtown Tucson. The airport serves fewer than ten airlines and as a result has higher service levels and shorter queues.
Tucson Airport is well connected to Tucson city and houses a number of shops and restaurants to keep travellers entertained. There is also an arts and culture programme, with a number of Mexican-inspired pieces, located at the airport.
The Sun Tran bus company operates service into Tucson from the airport on two routes. A standard Sun Tran bus fare is $1.75. Airport shuttles, taxis and rental cars are also available.
Phoenix Airport Taxis: the taxi fares above are intended as a guideline only.


America's great outdoors rival any region's natural beauty. And these four national parks might be our favorites.
Though the Grand Canyon is obviously a must-visit, one can easily argue that Bryce Canyon is just as mesmerizing, and definitely unlike anything you've ever seen. This natural spectacle is truly otherworldly, thanks to those fascinating hoodoos, totem-shaped spires of rock rising up from within the canyon. Literally nowhere else in the world quite has hoodoos like this. Ideal for that unforgettable hike of a lifetime, this Utah park is our canyon pick.
Famous for those high peaks – Middle Teton, Grand Teton, and Mount Owen – this national park in Wyoming also boasts the mountain-reflecting Snake River, fascinating wildlife, and picture-perfect alpine landscapes. Overlooking Jackson Hole, the highest mountain peak is a breathtaking 7,000 feet above the valley floor.
Comprised of stunning geological formations and seemingly an infinite mixed-grass prairie, the Badlands National Park ranges across 244,000 acres in South Dakota. Canyons, buttes, and gorgeous pinnacles create a fantastical scene for visitors. Perfect walking trails make a trek through the park easier, with chances at spotting amazing wildlife like bison, prairie dogs, bighorn sheep, and black-footed ferrets.
Though you can't go wrong adventuring to any of America's beautiful National Parks, these are sure to leave you in awe.


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X-Men Actor Kelsey Grammar Would "Love" to Play Beast Again
StewShearer
1 POSTED: 24 Jun 2014 01:35
Image Source: Comic Book Movie
Actor Kelsey Grammar has said that playing Beast in X-Men: The Last Stand was a "joy" and that he'd love to return the role.
At this point it's pretty much accepted that X-Men: The Last Stand was so terrible that it took a complete reboot to get things working properly again. That being the case, the film did have some arguable positives with one of them easily being Kelsey Grammar's casting as Beast. He simply brought a natural intellectualism to the character that was pitch perfect and very much deserving of a better film.
That in mind, Grammar, speaking recently about his brief cameo in X-Men: Days of Future Past, expressed that he'd happily take part in another X-Men movie if given the chance. "I would love to do another X-Men," he said. "I loved playing Beast! I call him the blue guy and it was just a joy for me to be involved in that franchise."
He would go on to describe how he wound up being in the production of Days of Future Past which featured the actor in a cameo toward its end. "When I heard they were making another one...It was Hugh [Jackman] that I was talking to and he said, 'You're going to be in the next one aren't ya, mate!?!' I said I didn't even know about it. So I called Bryan and said, 'Look I understand that you're in a different timeline now and it's the younger Beast, but there's that little coda at the end. So I volunteered my services for it, because I really like being a part of that franchise."
Discussing X-Men: The Last Stand, in turn, Grammar affirmed his belief that director Brett Ratner "did a good job" and blamed the film's troubles on "political nonsense between studios." Nonetheless, he acknowledged that the franchise is perhaps better off in the hands of Bryan Singer and that he "was happy to see him return to it."
Source: IGN
But... But... I really like Xmen: Last Stand...
Yeah it wasn't the first two films but I don't think it's that terrible
AdagioBoognish
I would love to see him as beast again, I've associated him with the character ever since I saw it. For all its faults, the xmen movies have done a great job casting some of its most iconic characters.
Redryhno
TimeLord:
We're in the minority I think. Sure the story brought in elements from about fifty different comic storylines, but you can't tell me the last fifteen minutes or so weren't some of the most awesome moments with Bobby actually becoming Iceman and beating the shit out of Pyro and the greatest line in the entire series featuring a certain unstoppable mutant...
Andy of Comix Inc
I've loved Kelsey Grammar a lot less since discovering he's an elitist, homophobic right-wing nut (he's basically exactly as he portrayed Sideshow Bob in Sideshow Bob Roberts, save for the whole "rigging an election using pet cemetery as voters" schtick). I do like him as an actor though; I like him as Beast, I'm looking forward to see how he does in Age of Extinction, and his voice hasn't lost any appeal so I happily dig him up when he finds his way back to The Simpsons. I just... I wish his ideologies weren't quite so... diametrically opposed to my own. I feel the same about Robert Downey, Jr.
idarkphoenixi
I certainly found some enjoyable elements from X3 but that plot, and the force-fed dialogue....oh god, it makes me shudder. The only thing that keeps it above prequel levels of awfulness is the fact that Wolverine doesn't go on a monologue about how much he hates sand. I'm looking at you, Anakin.
Would love to see Kelsey come back again for sure. He didn't get nearly enough screentime.
Fat Hippo
Redryhno:
I'm with you guys, it gets shit on more than it deserves, probably in part because everyone seems to hate Brett Rattner, which makes it an easy target. Maybe in 20 years, old Jim Sterling will make a Movie Defense Force episode about it. People seem to forget some of the goold elements the movie had, like Cyclops dying, and as this article says, the character of Beast, and some pretty fun action scenes.
ShogunGino
idarkphoenixi:
"I hate sand. It's rough, it's coarse, it gets everywhere." Hardly what I would call a monologue, it's only ten words. Don't over-exaggerate, it makes you seem whiny.
OT: I get why people don't 'like' X3, but I personally don't get why they 'hate' X3. It had a few too many underdeveloped plot threads taken from several famous story lines, I get that, but I also get that I thought the action choreography felt more kinetic and entertaining that the previous two movies, so I can say I enjoyed that, as well as some fun performances by certain members of the cast, like Kelsey. X-Men has had a kind of rough path through films, but its always nice to see fun elements in each new installment.
Andy of Comix Inc:
I've loved Kelsey Grammar a lot less since discovering he's an elitist, homophobic right-wing nut
You just described half of the acting community with that one. Good on you.
Fat_Hippo:
....I completely forgot about Cyclops...he deserved slightly more screen time than he got in the series(Alot of mutants did, but he's one of the iconic...6 or 7), or maybe just more than just being the Grey Love Wall of Logan. And this is honestly the first time I've heard about the Brett Ratner hate...
10 POSTED: 24 Jun 2014 05:43
Hey man, I'm about to go one step futher... I liked Last Stand a heck of a lot more than First Class. It was a dumb movie for sure, but atleast it was entertaining.
OT: So wait, Grammar has a cameo as Beast in Future Past? Does that mean the Grammar Beast has the regular human nose, while the Hoult Beast still has the stupid furry nose?
Yeah, I'm guessing Cyclops is more interesting in the comics than in the movies, not that he could have been less interesting.
As for Brett Rattner hate, I'm pretty sure MovieBob goes on a slight tangent about how terrible he is every time something related to him shows up, and he's hardly the only movie critic. Not sure why exactly. He apparently isn't very likable as a person, but that goes for a lot of actors and directors, and they don't get as much bile directed at them.
evilthecat
ShogunGino:
I don't think it's exaggeration so much as hyperbole.
That quote is kind of indicative of bad Lucas writing, because what Anakin actually means is "This place is a lot nicer than Tatooine". That's what an ordinary person would say because the purpose of spoken communication is generally to communicate efficiently. He could then go on and explain all the nasty attributes about sand and it would make sense.
Just opening with something seemingly off the wall and then suddenly bringing it back to a point is not really something people do in spoken conversation because it would be awkward, and guess what.. it sounds awkward.
I dunno.. there's some pretty cheesy lines in the original star wars trilogy too and we gloss over them, but it still strikes me that all the prequels desperately needed someone with the balls to tell George Lucas that this is not how real people talk.
Yeah, except I don't have an affinity for the talent of half the acting community. I certainly didn't watch half of them through ten seasons of Frasier. Really, I love Kelsey Grammar when he's on-screen, when he's singing, voice acting... he is an actor I admire with beliefs I don't. I disagree with a lot of people, I don't often respect them simultaneously.
Trishbot
X-men: The Last Stand had a lot of problems.
Kelsey Grammar as Beast was not one of them.
For that matter, even X-men: The Last Stand was not as bad as people claim. Rewatching it, yes, it has some serious problems. So do the first two and even First Class. It has a LOT of padding and aborted story arcs, but it also has some really great performances and story moments as well (personal highlight being Magneto verbally pimp-slapping Pyro into place and paying his respects to Charles, really showing that despite their differences he respected the hell out of him and considered him a friend on the other side).
So, yeah, bring Kelsey Grammar back.
But is it too much to hope for more Nightcrawler in the future?
Evonisia
Cameo in Days of Future Past? Beast is in it for half the film.
Type type type.
Oh, okay then, he's the older Beast.
Well I'd be happy to see him as Beast in a future film, so there's that.
Verlander
Hit the nail on the head. At least Downey Jr has an excuse, ish. Also, as his view has flip flopped over the years, I'll give him that he's a man still trying to work stuff out. Grammar is just not a nice person, which is a shame as otherwise I'd be a huge fan. Same with Gibson tbh, I love the work, even the Passion, but it's hard to reconcile those kinds of actions.
TristanBelmont
You know I completely forgot Grammar played Beast.
I still only know him as Frasier Crane.
2xDouble
It's not terrible. It's not even particularly bad, per se. It's just not particularly good either, and nowhere near as good as it likely could have been. It lacked focus, I think. It had a lot of "and then THIS happened" as opposed to significant plot development, perhaps trying to capture the feel of an episodic comic book with overarching continuity. Instead, it felt like a TV show, as if they had spliced several (otherwise unrelated) episodes of Power Rangers back-to-back and wanted us to assume the events were sequential and relevant to each other. That isn't to say it was bad, especially if you like Power Rangers, but that doesn't make it very good either. Perhaps it would have been better presented as a miniseries, instead of a feature film. There, events can be self-contained episodes and contribute very little to the overarching story, if anything at all, but still have build-up and the big payoff at the end.
OT: Grammar is an absolutely magnificent Henry "Beast" McCoy, and easily a standout of The Last Stand, alongside McKellan and Stewart. I'd be positively thrilled to see him reprise his role in future X-Men films.
Something Amyss
I can't think of a better choice really.
You are DEAD to me! Go stand in the corner until you've regenerated!
Actually, I don't really hate X3. I just wanted to make the comment.
I really wish I didn't know that.
But now, at least, I have the internal amusement of him playing not only a key player in what has been one of the big "gay analogies" for the last couple of decades, but also for being the same character that was the actual gay metaphor in First Class. "You didn't ask. I didn't tell."
TristanBelmont:
It would be awesome if Hank McCoy was a radio psychiatrist.
Triaed
Wow, no one has pointed out his name is Grammer? I guess that makes me the grammer nazi :)
I love the dude's voice and he has chops, but I am not too sure about on-screen presence. CGI can do wonders, though


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Dragon Ball Z – The Movie: Super-Saiyajin Son-Gohan ist der neunte von insgesamt 15 Kinofilmen zur Anime-Serie Dragon Ball Z, die auf dem Manga Dragon Ball des japanischen Zeichners Akira Toriyama basiert. Der Film wurde im Jahr 2003 in Deutschland auf DVD veröffentlicht. Carlsen Comics brachte im selben Jahr die dazugehörigen Anime-Comics heraus (Ausgaben 41 – 44).

Handlung
Nach dem Sieg gegen Cell organisiert der reichste Mann der Welt, Excess Money, als Geburtstagsgeschenk für seinen Sohn ein Kampfsportturnier. An dem Turnier nehmen die besten Kämpfer der Welt teil, darunter auch die Freunde Son-Gohan, Kuririn, Trunks, Yamchu, Piccolo und Tenshinhan. Die Gegner der Sieger aus der Vorrunde sollen vier außerirdische Kämpfer aus vier verschiedenen Galaxien sein. Dem Gewinner des Turniers winkt nicht nur ein sehr hohes Preisgeld, sondern auch, dass er den Champion und angeblichen Helden im Kampf gegen Cell, Mister Satan, herausfordern darf.

Son-Gohan, Trunks, Kuririn und ein Sumoringer gewinnen die Vorrunde und werden zu den Kämpfen in vier unterschiedliche virtuelle Kampfzonen gebracht, die das Publikum über Bildschirme verfolgen kann. Alle Vier stehen unerwartet starken Gegnern gegenüber, die nicht die angekündigten zu sein scheinen. Der Sumoringer unterliegt seinem Gegner und Son-Gohan, Trunks und Kuririn stehen nun vier Dämonen an einem anderen Schauplatz gegenüber.

Der im Kampf gegen Cell gestorbene Son-Goku erfährt von Meister Kaio im Jenseits, dass einer der Gegner, Bojack, eine Milchstraße nach der anderen zerstören wollte und von den Kaios des Nordens, Südens, Ostens und Westens schließlich am Ende der Milchstraße eingesperrt wurde. Nachdem Son-Goku Meister Kaios Planeten im Kampf gegen Cell zerstört hatte, wurde das Siegel, hinter das Bojack verbannt war, zerbrochen und er kam mit seinen Gefolgsleuten auf die Erde.

Schließlich greifen auch Tenshinhan und Yamchu ein, unterliegen aber ebenso wie Trunks und der später eintreffende Piccolo und Vegeta. Auch Mister Satan erreicht, allerdings unfreiwillig, den Ort des Geschehens und rettet mit seiner Ankunft Son-Gohan kurzzeitig vor Bojack. Son-Goku und Meister Kaio verfolgen im Jenseits die Ereignisse auf der Erde und als Bojack Son-Gohan töten will, kehrt der verstorbene Son-Goku mit der Technik der Momentanen Teleportation auf die Erde zurück und befreit den bewusstlosen Son-Gohan aus Bojacks Fängen. Son-Goku beschwört seinen Sohn, seine wahre Kraft zu entfalten und die Erde zu beschützen. Nachdem Son-Gohan wieder zu sich gekommen ist, verwandelt er sich in einen zweifachen Super-Saiyajin und vernichtet Bojack.

Synchronisation
Die deutsche Synchronisation wurde vom Synchronstudio der Berliner MME Studios umgesetzt.

Weblinks

 Anime News Network über den Film (englisch)

Einzelnachweise

Filmtitel 1990
Anime-Film
Zeichentrickfilm
Actionfilm
Martial-Arts-Film
Dragon Ball


No need to head to the Caribbean to island-hop this summer — hop instead from event to event on our own island for free. Here are seven activities, all of them outdoors and all of them gratis.
Waterspouts from six flowers painted on the ground of the fenced-in spray park area at Rockville Centre's Children's Park, where water also falls from a shower. A button starts the flow, and after 55 seconds it will go off, and someone else will have to push it. There's also an adjacent playground area. A recent addition is a play structure that depicts a pirate ship on one side and a pond scene on the other. A QR code posted on the structure lets parents download an app that reads kids Hans Christian Andersen fairy tales. They can hear the story of "The Little Mermaid," then act it out on the pirate ship, or the story of "The Ugly Duckling," then act it out near the pond. The park is open daily, 8 a.m. to dusk. Info: 111 N. Oceanside Rd., Rockville Centre; 516-678-9338; rvcrec.weebly.com.
It's not so easy to find a free beach in the Town of East Hampton, but Montauk's Kirk Park Beach offers free parking and entry to its Atlantic Ocean beach. Lifeguards are on duty weekends beginning Memorial Day and daily in July and August. There are restrooms, and the beach is within walking distance of village shops. Across the street is a park with a picnic area. Info:95 S. Emerson Ave., Montauk; 631-324-2417; ehamptonny.gov.
Long Island family musician Darlene Graham will blitz the Town of Hempstead with 11 free outdoor, daytime concerts during the week of July 13-20, sponsored by the town. She'll call on audience volunteers to play beach bucket drums, wear sunglasses, dance, demonstrate swimming strokes and play clamshells as castanets. Summer-themed songs will include "Pool Time," "Going to the Beach" and "Sunny Day," and beach balls will be tossed into the audience for concertgoers to keep up high. Concerts will be at Seamans Neck Park in Seaford, Rath Park in Franklin Square, Oceanside Park in Oceanside, Veterans Memorial Park in Levittown, Newbridge Park in Bellmore, Terrace Gardens Park in Inwood, Roosevelt Pool in Roosevelt, Uniondale Avenue Park in Uniondale, Echo Park in West Hempstead, Averill Boulevard Park in Elmont and Azalea Park in Levittown. Visit the website for exact dates and times. Info: darlenegrahammusic.com.
By Memorial Day, the miniature-train rides offered by the Long Island Live Steamers are chugging away at the station created in Southaven County Park in Yaphank. Rides atop the two train lines — the ground line and the elevated high line — happen two Sundays each month from 10:30 a.m. to 3 p.m. Dates this summer are June 10 and 24, July 8 and 29, and Aug. 12 and 26. Kids and adults can ride the five-minute loop for free, though the club that runs the trains encourages token donations, says president Keith Denton. The train area is separate from the park, so parking and admission are free. Info: Gerard Road entrance of Southaven County Park. 631-345-0499; lilivesteam.org.


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Actinostemon schomburgkii är en törelväxtart som först beskrevs av Johann Friedrich Klotzsch, och fick sitt nu gällande namn av Bénédict Pierre Georges Hochreutiner. Actinostemon schomburgkii ingår i släktet Actinostemon och familjen törelväxter. Inga underarter finns listade i Catalogue of Life.

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