Cosimo Galluzzi

titsay

oozey mess
Misplaced Lens Cap
YOU ARE THE REASON

JBB: An Artblog!

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i don't do bad sauce passes

Discoholic 🪩

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Show & Tell
I'd rather be in outer space 🛸
hello vonnie
Sweet Seals For You, Always

⁂

pixel skylines
Cosmic Funnies

#extradirty
RMH
Alisa U Zemlji Chuda
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@placetoburystrangers
Come Outside In The Evening Lets Play Again I Miss You A Lot.
there are sex shops everywhere for those with eyes to see. the veterinary supply store. home depot.
when does it get better literally when does it get better
L'Orgueil puni (The punishment of Arachne), Apollonia Saintclair
Big Black's favourite word is "f***"; their favourite noises are the sounds of breaking glass and distorted guitars. From the opener 'Fists Of Love' they created an atmosphere as heavy as the rhythms of their pounding drum machine. Exorcising the frustration and confusion of modern living with every note, Big Black played for exactly an hour, with a frightening repertoire and a lifetime of venom.
'Kerosene', 'Steelworker', 'Dead Billy', a Big Black gig is one long vicious tale of struggling human beings with shitty jobs and more bills to pay. That the band may be sucked back into the blood-sucking, faithless, nightmarish America that spewed them up in the first place is the final irony, a tragic comedy. They tried hard, harder than most of us ever will, but if all you got from it was a good night out that you wouldn't have otherwise had, then that's OK too.
Big Black were the perfect entertainment for 1987, a bullet between our collective eyes.
NEIL PERRY
fuck it titties on da blog
i am soooo hot i should not be "working a job" and "earning a degree" i should be in a band that sucks and everyone should want me
doing all 4 and it is taking its toll
instead of doing evil things i will maybe take a walk. smoke the last of my weed by the river oh yes
capitol hill, seattle
ig: 2006machine
19th century surgical instruments from the macabre market.
A post-medieval scale tang knife handle with inscription 'make you bleed' from the 17th - 18th century
Esther Scroll, Ancona, early 18th century
Handwritten text, unfinished decorated cut-away parchment Parchment, 8 membranes, 39 text columns, 23x458 cm Carved wooden roller Gift of Mrs. Erna Ascoli in memory of her husband U. Nahon Museum of Italian Jewish Art ON 0495
This scroll is a beautiful example of the particular style of decoration that flourished in the Italian towns of Ancona and Lugo in the eighteenth and early nineteenth centuries. Artists in these towns specialized in a laborious technique whereby the parchment was cut away to create an intricately patterned frame for the text that reminds us of the beautiful lace used in fashions of that period. This elaborate technique was employed to adorn megillot, ketubbot and a variety of Judaica objects. Only a few such Italian cut-out parchment scrolls remain today.