View allAll Photos Tagged atomizer
Disinfectant citrus, hair brush, perfume atomizer, chapstick, lipstick and gloss, sunglasses, iPhone, face powder, coin purse, paper tissues, nail polish, oyster card cover, makeup bag, hello kitty pills case, keys, my pet gnome, moleskine, pen, heart ring, diary, umbrella, book, yet another memo pad, wallet. Phew.
Our Daily Challenge: In the air
This was a tough one - the outside "air" is pretty dreary around here this week. This is the best indoor idea I could come up with. BTW - my basement (where I took this) now reeks of green tea scented room freshener - hopefully it won't make its' way up to the main living space LOL! ;D
Making this another two-fer: also submitted to weekly-202011 - colorful
This delicate vintage perfume bottle is jaw-droppingly beautiful! It features cut glass the color of the Caribbean Sea, brass-colored hardware and a flower atop the bottle with glass petals.
The original foil stamp is still on the bottom; some of the writing has worn off, but I can make out that it says "I.W. Rice & Co, Inc. An Irice Product."
According to santafepost.com, I. W. Rice & Co. was founded in 1905 as an importer of perfume bottles and other vanity items. Irving W. Rice served as president, importing items from all over the world and selling them under the name of “Irice imports.” The company specialized in Czechoslovakian crystal in the 1930s, and switched to American manufacturers such as Imperial Glass during WWII.
It is for us, perhaps on the occasion of a few more thinning hairs that have turned a silvery gray, to take a sleeve and scour away the scale and cobwebs and peer back through the panes of memory that time has dusted well, flipping through the yellowed sheaves of the past as if a great animation is played in reverse until we arrive at a certain moment established near or about Page 1; a moment that time seems not to have tarnished or decayed.
It is a moment that is as gilded in its individual importance as is The Book of Genesis to the flock of the faithful.
It was as if a switch key was inserted and turned, a heavy brass lock removed from its securement and left dangling on a length of chain, allowing a great unseen force to reach deep within us and ever so slightly bend the malleable portion of our DNA to align our path through the flangeways and across a No. 6 frog, there to be baptized with coal cinders and atomized diesel exhaust, the bellowing of trumpets and the shrieking of steel-on-steel welcoming us like a newly-christened Knight of Hohenschwangau.
Not to diminish our soul mates and the romantic attractions that hormones and mutual affection would tender to our hearts at a later age, but in that moment, trains and all things ‘railroad’ became our first love, and most likely will be our last.
They were experiences of extreme intimacy that, as with romantic love itself, have seemingly been bereft of proper definition, and it seems that the further we progress from the occasion itself, the more our minds choose to revisit it.
For some, perhaps, it was the sincere gentleness in Grandpa’s hand, the immensity of it swallowing ours within its calloused grasp, our tiny legs taking two steps for every one of his as our mind wrapped itself around fantastic tales of the 3460-class highballing The Chief, or of the great articulated 3800s mauling a mile of high cars up to Tucumcari.
The train order board was in the ‘stop’ position for the 10 am ‘every day but Sunday’ local as we sat amongst weathered and aged friends in the shadows of the equally weathered and aged depot, the slatted wooden bench having witnessed the comings and goings of countless trains over the decades and borne the weight of those who waited for them; of those who only watched and reminisced; of those who waited for Johnny to come marching home, and those who signed for his casket on the station platform, the slamming of the baggage car door as a gunshot salute echoing about the mourners gathered in the rain.
Perhaps it was the bare feet of a barely-four-year-old, the floorboard of the old 50-something Ford station wagon hot on the tiptoes as we balanced on the driveshaft hump and struggled to see over the front seat, the open windows allowing the oppression of a Texas summer to fill the car as bells clanged and lights flashed and gates lowered across the roadway. A rumbling monster charged by, screaming, horn blaring, its passing creating the only breeze that day. We watched as the cars rambled past, each filling us with awe and leaving us wondering just where it all was going.
Real or perceived, there was a quaintness about them, in the local colors of Black Widow or McGinnis bow ties; of high-hood Geeps mu-ed with chicken wire Fs and an old RS unit smoking up the rear. Hitched on the drawbar was a string of 40-foot refugees from across the continent, each emblazoned with colorful heralds and slogans urging us to ship our goods with them. They dutifully tagged along behind, waybilled to who-knows-where, carrying who-knew-what, rocking along jointed rail, clattering, creaking, swaying to and fro, seemingly ready to tip over at any moment. Yet the friction-bearing Bettendorfs ran true, never leaving the rails as they raised a cloud of dust amid the aromas of hot creosote and the blue haze of 32 cylinders worth of 567 exhaust, and in the wake of their passing young minds conjured up visions of a thousand places that we’d never been.
We would go there in the pages of Beebe, riding the wave of prose as it painted glorious stories from across the breadth and width of a nation, from Down East to the Deep South and across the frontier to the golden days of the Wild West. The great hard cover bindings held such treasures as Andrew Russell’s glass plate views of the Golden Spike at Promontory, Fred Jukes’ visions of the Overland Limited at Elko, and Steinheimer’s prowess brought us to the frigid heights of Donner. We became filled with wonder yet equally saddened that we had missed all the grand commotion.
Our mailboxes were eagerly checked as minds young and old stood ready to absorb the monthly musings of David P. Morgan and Fred Frailey and Ed King, and offerings from the lenses of Hastings and Lamb and Middleton, our whetted appetite satiated but temporarily, our excitement nearing a crescendo with the impending arrival of the next issue.
The diesel spotters guide became dogeared from our quest to identify the oldest and latest models; to know just how much horsepower each unit could generate and turn into tractive effort. 1st or 2nd Generation? GP or SD? Two radiator fans or three? U-Boat or C-Boat? RS or Century?
The units had character back then, and the local flavors of paint made them even more so: Bloody Noses, Chinese Red, blue & yellow bonnets, Tuxedos, John Deeres, and Deramus Reds. Jenks blue never looked sharp before the Screaming Eagle spread itself out on the hood doors.
All are gone now.
We pine for them still.
And though we are tempted to grow weary of the cookie cutter designs and unimaginative paint on today’s corporate merger fleets, we still seek them out.
It is, after all, in our DNA.
But time never grows weary. It marches forward to an inexorable cadence as yesterdays grow forever dim on the horizon of the past, and our own hands grow wrinkled and calloused from life’s work.
We have come a long way from that first primordial encounter, but in our reverie, we are able to gaze back through the dusty panes of memory, and in doing so, our melancholy calls us to recreate it in some fashion or another.
Here tonight, on the High Plains of Texas, the oppressive heat of a youthful summer afternoon has given way to the chill of a long winter evening. And though the throb of a GEVO fast approaching is a long way from Roots-blown EMDs rumbling down the Sunset Route and hazing the summer sky with their blue-tinged calling card, we nonetheless still feel our pulse quicken, and the surge of excitement courses through our veins as if we were still that four-year-old struggling to see over the front seat of the old Ford.
And in that moment, we’re transported back in time, if just for a bit---
The blare of air horns fast approaching---
The floorboard hot on our bare feet---
Pungent, life-changing aromas of diesel exhaust and hot creosote wafting in through the open windows---
The camera clicks, opening and closing the shutter in a fraction of a second, letting in enough light to create an image on a sensor as vivid as the one we remember from early in our youth. We close our own eyes as if that might somehow take us back there---
To Espee Geeps smoking up a hot and hideously humid southeast Texas afternoon so very long ago.
If only we could.
---RAM
Rick Malo©2024
All-Seeing Eye is simply an eye with light rays shining out from it, and nothing more...unnatural, or profane, man remains blind. He lives in darkness for he does not see what is in front of his face.Tears are emanations of the light of the Principle and are associated with the creative gaze.
That same eye now symbolizes the enlightenment of the eye, or I, or self. Theater's head symbolize the sort of existence lived by those who are completely blind to their Personal Legends.The Carnival Fountain, better known as the Tinguely Fountain, offers a spectacle with its figures ready for the stage. No wonder, as it stands exactly where the great tragedies, operas and ballets used to be brought into the limelight: On the stage of the old city theatre.
The Tinguely Fountain is alive. Wheels, glide bars, atomizers and nozzles of all kinds pump 55,000 litres of water through the hose veins of the ten figures day and night. It sizzles and sprays and spins where you just look. As the seasons change, so does the ensemble of the water spectacle: In summer, the figures from scrap iron prance around, crackle and dribble, sweetening the lunch between the noble Kunsthalle and the tram-rich Steinenberg for many Baselers. In winter, bizarre ice sculptures cling to the iron and the well master comes twice a day for inspection and knocks away the annoying parts.
No other work in Basel's public space needs such a high degree of maintenance work. But the effort pays off: The Tinguely fountain is one of Basel's most popular landmarks and is surrounded at all times by curious onlookers who take the idea of moving water sculptures to heart.
Forty years ago, performances were already enjoyed on the Steinenberg. But at that time they didn't come from wildly spraying machines made of waste material, but from actors, opera singers and ballet dancers. Exactly where the Tinguely Fountain stands today was located, namely the stage of the old city theatre, which was blown up in August 1975.
After the new theatre was built in 1974/75, the old one was no longer needed. One last time Verdi's "Don Carlos" was staged, a tragedy, also for lovers of the sophisticated neo-baroque baroque building, which was blown up two months later. What remained was a place that had to be replayed. The best thing to do was to find something to please the audience of the Kunsthalle, theatre enthusiasts, visitors of the Elisabethenkirche and the pedestrians of the Barfi.
Just at the same time, Migros turned 50 years old and wanted to give the city of Basel a carnival fountain on this occasion. After only three sessions, Jean Tinguely, who had already built water machines as a child and immediately set out to rescue the remains of the old theatre from the rubble of the demolition, was chosen. Some of the "rescued" parts of the old theatre were used by Tinguely as building blocks for his figures, which were created in various places, among others by his friend Bernhard Luginbühl.
The ancient art of alchemy has come down throughout the ages, and it seems as though its true level of antiquity is not well understood even by its modern day adherents. It is well recognized that the black land of Khem (Egypt) is where this black art was faithfully practiced, but did it all start there? We simply do not know, and for this reason alchemy remains the black art that it always was. One of its primary powers is mystery itself, or darkness. Darkness is synonymous with ignorance, and without a doubt most of us remain in the dark when it comes to the meaning and purpose of alchemy today.
The language of alchemy is symbolism. This means that its true meaning is hidden from anyone who is symbolically illiterate. Here we can see the Veil of Isis at work.
In the Ancient Mystery tradition, symbolism is the language of Nature. The goddess Isis is Nature herself, and she is also known as the Mother of the Mysteries. The Natural Man understands the language of his own Mother (naturally). The unnatural, or profane, man remains blind. He lives in darkness for he does not see what is in front of his face. To summarize,
• Symbolism = the language used by both nature and alchemy (alchemy emulates nature). • Isis = Nature herself. She speaks in symbols. • Natural Man = the Son of Nature. He has eyes to see the meaning of symbols. He also has ears to hear and listens to his mother. Bacchus/Dionysus, and Osiris represent the Natural Man in mythology. • profane man = An unnatural creature living in ignorance of his own nature. He can see a symbol, but cannot understand its meaning. He lives in darkness, unable to see without the light. He has the Veil of Isis obscuring his vision.
Symbols have the power to both reveal and conceal truth. This is how the truth of alchemy remains unseen.
The art of alchemy emulates nature. This is why it uses the natural language of symbols. Alchemy is the attempt to first study nature, and then to improve upon it. It is about creating an art-i-ficial world that rises up from the base that is the natural world. This is the Great Work of the Natural Man. To rise above natural limitations with the art of alchemy.
Levels of Understanding
The profound meaning of alchemy is hidden on many different levels, for there is not one simple interpretation of its mystery. Symbols themselves have many different meanings that range from the obvious (exoteric) to the arcane (esoteric). Somewhere between these two extremes lie the occult, or hidden meanings of symbols.
To simplify, let's use 3 levels of understanding (this is not the only way to illustrate the point, but it will work well here) 1. exoteric = the literal interpretation of a symbol/ character. An All-Seeing Eye is simply an eye with light rays shining out from it, and nothing more.
occult = the hidden meaning/meanings of symbols. That same eye now symbolizes the enlightenment of the eye, or I, or self.
esoteric = the deepest meaning, that combines many occult aspects of a symbol to bring it back to the practical world. This is the power of the true alchemist. I am enlightened, and therefore have the duty to build the future, for I already see it.
Now, let us consider one of the most important symbolic phrases of alchemy which is,
to turn the base metals into gold
1. At the exoteric level this phrase is about literally turning a rusty old lead pipe into a bar of shining gold bullion. This is extremely enticing because it represents the ultimate get rich quick scheme. The profane man is easily motivated by this prospect, but when he finds out that he cannot make gold out of lead he becomes angry. Without understanding the deep meaning of symbols, he simply gives up. The exoteric, literal, materialist meaning is given out to the public to keep them estimating everything in life at face value. Because there is no literal method of turning the base metals into gold, the art of alchemy becomes reduced to a curious relic from the ancient world. It is seen as the foolish work of magicians who lived in ignorance of actual scientific laws. Because most people stick with exoteric understandings the occult remains hidden.
2. The occult meaning of turning the base metals into gold has to do with self-realization, and improvement. It is all about becoming a better, more enlightened person. Base metals, lead, or the Prima Materia of alchemy symbolize a man in his primal state, living in ignorance. By actually recognizing his own faults, and by making the choice to improve upon them, he is slowly raised up to new life. The gold is the light of the sun imbued into the consciousness of the alchemist. A flood of hidden knowledge is revealed, and the world becomes a far different place. Constant change is part of the occult process of alchemy. Throughout life, one dies and is reborn over and over again. So the occult meaning of alchemy is simply self reflection, actualization, and enlightenment. The process itself is catalyzed by symbols. It is through an understanding of ancient symbolism that the alchemist sees the world in a new light.
3. The esoteric interpretation of alchemy is actually a subtle intertwining of both literal and allegorical aspects of symbols. It uses symbolism to describe heavenly ideas/ ideals. These ideas are considered divine inspiration. They represent the blueprint by which the natural world should be remade. By intensely studying nature (with science), and understanding its mysterious processes, the natural progress of evolution can be sped up. Nature takes a very long time to change. With the art of alchemy the process is expedited. An artificial world is created in this way. Life itself is the product of nature, and the true Natural Man seeks to change it according to his own interpretation of ancient symbols. To turn the base metals into gold could be interpreted as altering the base metals, which symbolically represent base (profane) men, by turning them into gold. Because the profane man is forever ignorant, it is the assumed duty of the alchemist to help him along. By turning otherwise useless metals (human beings) into gold (wealth) the alchemical process is put into high gear. Eventually, this Method gives birth to a whole new world.
So what is the real truth?
To most of us, alchemy remains a total mystery. Alchemy is the art of multiplication, and appropriately enough the perplexing mysteries of this world continue to multiply on a daily basis. This causes confusion. People are now mentally, emotionally, and physically breaking down due to this confusion. This represents the dissolution phase of the alchemical process. Those who understand the esoteric truth of the Method are using alchemy as a tool to reshape the world. They require a confused, disenchanted, and malleable population of base metals that may be easily melted down and poured into a new mold. The true practitioners of the Black Art use it in this way. They know how to manifest change.
Understanding the occult aspects of alchemy can actually be a good thing. This is what inspires groups such as the Freemasons to practice their Royal Art. They do so to make a better world. They aren't evil. However, they won't come out openly and tell you the simple, albeit hidden truth of their Work either. You must be wise enough to read symbols. This keeps the esoteric workings of the art far removed from the consciousness of the average person. To take this same point further, it seems as though the esoteric remains hidden to most of those who remain content using the occult practice of alchemy to better themselves. We are all ignorant to an extent, so who can actually tell us what is going on here?
In studying arcane subjects, one becomes familiar with the occult meaning of alchemy. You cannot accurately decode symbols without having this occur. The immense boost in understanding that is gained from such a process is enough to convince anyone of the power of the Ancient Mysteries. As seekers of truth, what we need to be wary of is our final destination. Upon reflection do we decide to make the alchemical process our own? Seeing as how the Method belongs to no one person, and that it is ancient, then what happens if we decide to use alchemy? Is there somewhere we could go to find real answers?
Honestly, the best way to become a true alchemist is to join a secret society of some kind. This is the plain truth. Almost all books on alchemy will point you in this direction. Alchemy is the method by which secret societies operate, and their intent is always good. At least, it seems that way on paper. If anyone is going to talk about using alchemy, then they need to explain the fact that it is the Method used by secret societies. It's just that simple. Openly admitting the fact that you belong to a secret society does not work, and you can't really even begin talking about alchemy until you explain who you are up front. So the exploration of the topic of alchemy can become bit of a catch 22, for the true insiders must remain hidden.
As an alternative researcher I must admit to the fact that I am on the outside looking inside. I'm not stupid enough to deny the power of alchemy, and by the same token I am not foolish enough to think that I know everything about it. My task is to simply understand what is going on in this world. This I will do to the best of my ability.
This symbol, rarely mentioned today and almost forgotten, is nevertheless essential to the Mastery. They sometimes appear on certain Master's lodge boards or Master's aprons, or on black shrouds covering the sarcophagus in which the future Master lies, the symbol of Hiram who is to be resurrected in a new body of light. Many symbols disappear in this way, either because they are no longer understood or because the temples have been desecrated.
This is not an emotional evocation of grief at a loss, but an element that comes to us, as it often does, from ancient Egypt. There are two levels, clearly indicated in the following sentence from the embalming ritual: "You will receive the tears of Isis, the cries of Nephthys and the tears of Ra upon you will be the light that embellishes your days".
First there are the golden tears of the Creator, the divine sun, the Great Architect. Heliopolitan theology indicates that the gods were created by his sweat, and men by the tears of his eyes. Man was said to be 'rmt' and tears 'rmyt'. This means that man was born this way from the Creator, who weeps because of his behaviour. He is what makes the Divine weep. He is gifted with treachery and can never share the clear divine vision; everything he sees, thinks and does is imperfect. In a way, this is the notion of the Christian fall.
The initiatory path offers an escape from this state of affairs, thanks to the tears of the Widow that open the way to Mastery. She sheds tears of silver, lunar rays, from which the brothers can draw the raw material to make gold. In correspondence with the moon, she changes the nature of the stone, fertilising it with her tears and introducing divine gold into its heart. This gold is the Mastery of those who live in the unity of Wisdom, the Initiates who have passed into the Eternal East.
The Principle of Creation, for its part, is neither gold nor silver, but it gives both when it thinks of itself, through its feminine aspect, white, silver, and its masculine aspect, gold. In fact, these two metals do not have sexual characteristics and they also include their complement within them. Silver, the queen of peace, has within it the fixed male nature, and gold is all silver, although animated by masculine fire.
Tears are emanations of the light of the Principle and are associated with the creative gaze.
They are both of the nature of fertilising water and of fire. On the one hand, they are tongues of fire, symbols of the transmission of the Spirit received by the Master when he rose from the dead. But the alchemists also called them dew or water of life. It is the principal water, both earthly and celestial, mercurial water, the primordial material of the alchemical work.
Nothing can be done without these tears, which are found in the original stone. They are joyful in the sense of being open to life, because they allow rebirth. If the Widow mourns Hiram's death, the end of the Golden Age that will give rise to a new form of creation, her tears purify and regenerate the Master's body. They fertilise it, impregnate it so that it is in harmony with universal consciousness; they reveal the powers of life. The Master thus obtains the power to see and therefore to create. The transmutation that takes place in the athanor that is the sarcophagus totally changes the nature of the being. He becomes spiritualised. From individual consciousness, he becomes universal consciousness.
Sugoi Nic Salt by Sugoi Vapor - Sakura - 30ml
www.vapordna.com/Sugoi-Nic-Salt-by-Sugoi-Vapor-Sakura-30m...
Made in the USA
Sakura by Yami Vapor is a cool mixture of mango, peach, and pineapple flavored E-Liquid blended perfectly for a smooth inhale and a delicious exhale, now with SALT Nic! This product is specifically designed for use in pod based devices and other low output atomizers. View quick links for compatible devices.
Quick Links:
Limitless Mod Co Ply Rock Pulse
Suorin Air
Suorin Drop
Fuchai V3
Mi-Pod
Suorin iShare
Kado Stealth
Perl
Available in 35 and 50 milligrams of nicotine.
Warning: Do not use in Sub-Ohm style tanks and atomizers.
Demon Killer Special Wire Rolls features an intuitive way to experiment with exotic coil configurations, featuring distinctive heating elements in different sizes and structures. It is packed in a spool of 15 Feet along with available cotton, designed to bring a unique building experience. It comes in a plethora of options, ranging from twisted, fused, and flat, all machine twisted for a precise weave and high consistency throughout each spool. The Demon Killer Special Wire Rolls are perfect for rebuilding atomizers.
Available in Alien Wire Roll & Fused Clapton Wire Roll
$25.00
The TC-37 Spider is one of the largest GARC racers, only just inside the size limits. The pilot and the navigator were the top racers on Earth just before the Galactic Asteroid Rally Circuit (GARC) championship started. In the front mandibles are disrupter field generators that will atomize any asteroid in its way. To still be legal, it will not effect any other craft flying near it. With its crazy green and red color scheme and big number 3 on the sides its hard to miss in the race holos at home. The Spider is a favorite of many race fans across the galaxy.
The SMOK Alien 220W TC Starter Kit is truly out of this world, integrating a unique statement piece with ultra-performance chipset with 220W of maximum power and full temperature regulation alongside the widely popular TFV8 Baby Beast Tank. The Alien 220W Box Mod measures 85mm by 44mm by 30mm, featuring an elegant soft contour along the zinc alloy chassis, integrating stunning colorful inlays for a stellar showcase piece. The epicenter of functionality lies within the new enlarged OLED display, providing extensive information within an easy-to-read operational interface. Along with unique placement of adjustment buttons and stealth firing mechanism, the Alien 220W is built for superb ergonomic form factor. The chipset is notably intelligent, providing a wattage range of 6 to 220W, minimum atomizer resistance of 0.06ohm, and full temperature control suite with support for Ni200, Titanium, and Stainless Steel heating elements. Integrated within the internal onboard is a plethora of safety features, including battery series connection. The SMOKTech TFV8 Baby Beast Tank is the compact evolution of the the unrivaled TFV8 Cloud Beast Tank, featuring a well-balanced dynamic range with 3mL juice reservoir, precision airflow control, signature hinged top-fill system, and introducing the new Baby Turbo Engines coil structure.
SMOKTech Alien 220W TC Box Mod Features:
Dual High-Amp 18650 Battery - Not Included
Dimensions: 85mm by 44mm by 30mm
Wattage Output Range: 6-220W
Min Atomizer Resistance: 0.06ohm
Temperature Range: 200-600F
Supports Ni200 Nickel, Titanium, and Stainless Steel Heating Elements
Premium Zinc Alloy Construction
Detail-Orientated OLED Display
Series Connection
Dual Battery Life Indicator
Stealth Firing Mechanism
Ergonomically Placed Adjustment Buttons
Hinged Battery Cap
MicroUSB Port - Firmware Upgrades
Alien V1.2.2 Firmware Upgrade Available here.
Available in Silver, Gunmetal, Champaigne Gold, Orange. Blue, Red, Purple, Green, White Red, Superman
510 Connection
SMOK TFV8 Baby Beast Tank Features:
22mm Diameter
3mL Juice Capacity
Superior Stainless Steel Construction
High-Grade Glass Reinforcement
Convenient Top-Fill Design with Hinge Lock
Dual Adjustable Airflow Control at Base
Black Delrin Ultra-Wide Drip Tip
Patented Baby Turbo Engines Coil Structure
0.2ohm V8 Baby-Q2 Dual Coil - rated for 30-80W | recommended 55-65W
0.15ohm V8 Baby-X4 Quad Coil - rated for 30-70W | recommended 45-60W
0.15ohm V8 Baby-T8 Octuple Coil - rated for 50-100W | recommended 60-80W
V8 Baby RBA - Two-Post Deck
510 Connection
Product Package Includes:
1 Alien 220 Mod
1 TFV8 Baby Beast Tank
1 0.4ohm V8 Baby-Q2 Coil Head
1 0.15ohm V8 Baby-T8 Coil Head
1 MicroUSB Cable
1 Replacement Glass Tube
Instructional Manual
Spare Parts
Available in Black, Red & Gold
$100.00 (Rprice does not include batteries)
Summaries:100% All new as well as High quality.Material: Silicone Dimension: 2.2 x 1.2 centimeters Shade: Random Delivery10pcs Colorful Non-Slip Silicone Ring for Vapor Mechanical Mods and also E-cigarette Atomizers. Make your gadget distinct and also lovely. Maintain it from damaging and also scraping. With printing
Sugoi Nic Salt by Sugoi Vapor - Sakura - 30ml
www.vapordna.com/Sugoi-Nic-Salt-by-Sugoi-Vapor-Sakura-30m...
Made in the USA
Sakura by Yami Vapor is a cool mixture of mango, peach, and pineapple flavored E-Liquid blended perfectly for a smooth inhale and a delicious exhale, now with SALT Nic! This product is specifically designed for use in pod based devices and other low output atomizers. View quick links for compatible devices.
Available in 35 and 50 milligrams of nicotine.
Warning: Do not use in Sub-Ohm style tanks and atomizers.