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Locust Review is pleased to announce we are partnering with Omnia Sol to syndicate their new weekly program, The Omnia Sol Art Show (TOSAS).

Support TOSAS and subscribe to the Omnia Sol patreon.

The Omnia Sol Art Show #11: Snowdays

Omnia Sol February 24, 2021

Omnia Sol tries to stay warm while contemplating past snowdays that have long since been forgotten. Did they spell snowdays as one word as a stylistic choice, or because they didn't look up how to spell it before exporting the episode? The world may never know.

This episode features music by BUNNi https://soundcloud.com/user-171204202​

BPD - 14:23​
Happy Tears - 30:20​
D&D - 38:11​

Check out BUNNi's music video for BPD here: https://youtu.be/_5BDApRZfso​

Support TOSAS on Patreon and get access to all bonus and live episodes - https://www.patreon.com/omniasolart​

Call into the show and leave a message if you want to have your tarot read or if you just want to leave some kind words. You might hear your message on the show! (262) 612-3069

If you are a musician who would like your music featured on the show, email me at omniasolart@gmail.com

← The Omnia Sol Art Show #12: Perfect Blue RoseThe Omnia Sol Art Show #10: Metamorphosis →
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American fascism has a plastic shopping mall nostalgia. It is the fascism, not of a young empire thwarted, but an empire in decline. It is, at one level, a photograph of an abandoned Pizza Hut with the caption “This is what they took from us.”

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The Theatrical Party embraces the organization of pessimism in contrast to the false optimism of the left. To be a revolutionary pessimist is to separate the political actor from their role. It is this separation which, in the epic theater of Brecht, invited a critical outlook on the performance from its participants and spectators — the first step in the transformation of spectators into collaborators, a task integral to both theater and the forging of a revolutionary party.

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We want a record of the real in the work — as in the cotton and ash — as well as reclamations of our history and imaginaries constructed against the limits of working-class imaginations by capitalist realism. So the individual pieces are sort of vignettes of class pathos and poetry, often in an irreal idiom, and all together representing, as much as we can, the limitless expansive nature of these stories in aggregate. 

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The mansion had to be more than twenty thousand square feet, with five wings; it took up two acres. In the backyard, a giant infinity pool overlooking downtown L.A., a jacuzzi big enough for a football team, an industrial-size outdoor kitchen that could feed two hundred people, thirty-two-seat table made of rough-cut red wood with an eight-inch-thick top, three brick fireplaces, eight open firepits, two pizza ovens, and more trees and flowerbeds than in a Vegas resort.

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“It snatched a dog two days ago, in Drapers Fields,” Detective Constable Habib explained back at the station to her superior, “right in front of its owner. They found its entrails wrapped around a lamppost on the High Road. It’s head was…”

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Naugahyde seats crackle and groan under my knees, / sounds like taking shoes off at the end of the night, / when I remember that the first computer / was a woman named Ada Lovelace / who worked from home, mailing numbers to a Difference Engine

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