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Printemps Push

Production pcb. Tension long. 1.5mm wire diameter stainless steel compression pressure spring-zx-080. Compression raccord 14mm. Turn-down collar. Zinc plating. 19kg/41.8lb. Stiffness: Metal section. Pandora argent d'origine 925. Cylindre bobine. 

Stainless Spring Compression 6mm

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7xl Plus La Taille

0.8*10*77mm. 0.3 *2*5-30mm. Cotter pin. Big out diameter: 1.0*12*305mm. Nickel charnières porte. J567b. Spring clips for recessed lighting. Fw-sp14057. Ordinary. 10--50mm. 16 mm. Materail: Support : 

🚪 ig: morphinesleep. taylor-ruth. exiled soothsayer. mostly inactive and other places these days but..." /><"http://thisishangingrockcomics.tumblr.com/page/9" />


bein a woman and a huge Sade fan means you can explicitly relate to her emotional traumas but also she wants you to move on and then when you watch the video clip for Is It A Crime post difficult time you realise you have moved on and that she has done her job in comforting you and you thank her for being there but in a sexy way too so it makes you feel less crazy..

(Source: umok)

As Detroit techno moved beyond its early (Juan Atkins-dominated) phase in the mid- and late-eighties, particularly with the release of Derrick May’s Nude Photo in 1987, Europeans consumed the music in much more substantial quantities than audiences in Detroit, New York, or Chicago. Simultaneously, rap gained increasing prominence if not validity in the music industry. Techno and house had a few top-40 hits and dedicated local audiences, and for many musicians it was possible to make a living in the American Midwest. However, neither genre was ever commercially comparable to hip hop in the United States. For techno and house artists, larger crowds and higher record sales were increasingly likely to be reached abroad. Atkins, May, and others have attributed this to two factors. The first is the reluctance of the media to showcase black music which its commentators and editors perceive to prioritize intellectualism. The second is the general disb elief among American audiences which greets the idea that Detroit, a “devastated” area, is the center of an artistic movement. According to Anthony Shakir, “When people think of black kids, they don’t think of computers and books. For me, I’m a black guy and it’s black music to me. But I couldn’t tell that to people [who] just hear what’s on the radio.” Thus Shakir connects the media to the promulgation of an ideology in which intellectual thought and blackness are disjoined. Derrick May further links such tendencies in the media to the deeply ingrained acceptance of devastation in Detroit:
       Detroit’s not supposedly one of the forefront leaders of ideas and creativity. So people tend to discount it in the media. They don’t really say ‘Okay, well, Detroit is the focus of the music in America.’ They’ll never let that happen. They’ll never say that a city like Detroit, that is going through so much economic strife, that is a city full of illiterates, at one point, at one level, is the focal point of electronic music, period. They won’t let that happen. They will constantly discount it, and they will act like this didn’t happen.

@powerburial I don’t need to be crazier What drug will make me a normie who doesn’t think intensely about much besides community reruns and enjoys a nice lean cuisine after work.

I’ve never done acid because I’m scared like. What if you did acid and you see the world very normally and placidly in sepia tones and nothing cool happens and you realize you’ve been insane your whole life I think it would happen to me.

When I’m depressed I go to sleep with his documentary on and then his music plays in my dreams and I wake up happy is that corny. Yes probably.

I’m glad we’re all f*cked up awful people figuring it out as we go who love Arthur Russell.



being into disco is cool bc any disco song you like there’s guaranteed a 20 minute extended version of out there and you can pop a percocet lay on a fur rug and forget you’re alive while donna hits the ninth chorus refrain 


me af as well my dude.