Waste correspondent Eric Toennis sat down with his friend Chris Tsekouras to talk about their road trip from Eugene, OR to Billings, MT for Julia Louis-Dreyfest last August. They tell of their experience volunteering for the fest, as well as attending concerts and a comedy show there. Dreyfest also inspired these guys to pack a drumset back from MT and start jamming themselves.
Music in this episode features Dreyfest vets, Lung, from Cincinnati, OH. The track is called "All The King's Horses."
Graphic by Cooper Malin.
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Podcast produced by Phillip Griffin.

W.B. Appendix 004 - Chris Tsekouras & Eric Toennis

Waste Radio is the audio arm of Waste Division, an art collective dedicated to the proliferation of independent (and dope!) art in the midst of all this fucking garbage.

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parker brown and phil griffin talk about their favorite songs and why they like 'em! this episode features radiohead and the watchhouse (formerly mandolin orange), respectively.

this fkn song #1: ”little by little” & ”the wolves”

Join us this month as we discuss David Gates' novel, Jernigan, a dark tale of a man way too smart for his own good.

An overview of the book:

Reading Jernigan is like stepping into the mind of a middle-aged man fraught in a tunneling psychosis so abysmally dark, that even the most enthusiastic PTA members would start wishing the titular Jernigan would do more than entertain his self-destruction and snuff out his candles burning at both ends. The protagonist Jernigan fathers, drinks, lusts, maims, remembers, drinks, fucks, hates, forgets and drinks his days away, not so found about the past or the future or – really anything at all.

David Gates’ novel climbs into late Reagan era America and manhandles the reigns of the period, limning a mal de siècle vibe that adroitly fits accessible reading with the sort of lofty postmodern malaise you expect from the involuted phrasing of a Beckett or Burroughs. You’ll often get subtle nods to figures like Pound and Eliot, but the modernist canon is never a prerequisite for comprehension and serves as a bonus for discovering Jernigan’s attachment to the suffering that art invariably entails. Jernigan is a page-turner and while clocking in at 240 pages, the six-month timespan of the novel reads like the study of a polaroid or a lost and crackly VHS tape, the one where you see your dad as the barely contained manic-depressant, only kept from a nervous breakdown thanks to an interminable supply of 7-Elven beer and belts of Canadian whisky.

The zeitgeist is not too far from our own and the deluge of motifs ranging from prescription drugs, alcohol, guns, infidelity, xenophobia, sexual abuse, and consumerism frames the American Dream as a mere chimera, its obtainment only made possible through rose-colored glasses or a detested safe and stable upbringing that would only make you another asshole in Jernigan’s eyes. Much of the story plays into our fate as not just people, but as Americans, as consumers, as the sons and daughters of our father and the mothers or fathers of our children. Jernigan seems to be looking for a way out of the karmic cycle, but it’s hard to say how hard and if there’s something to be valorized in his pure nihilism and dissatisfaction with living in the Greatest Country in the World.

Whether you can’t manage to get out of bed due to a quotidian micro-existential crisis, or find yourself so deeply addicted to something that functionality is impossible without it, Jernigan will intone a dark message of empathy. For the arty, the depressed, or the bored, the narrative takes readers into the dark heart of a plasticized culture unwilling to speak what it feels and opens the scar tissue of wounds we sometimes forget in order to survive but need exposed in order to live. 

-Jordan Finn

Waste Books Ep. 1 - Jernigan

This month we discussed the novel Sabbath's Theater by Philip Roth, the account of a lecherous old man grappling with his past.

An overview of the book:

“Sabbath did not care to make people suffer beyond the point that he wanted them to suffer; he certainly didn’t want to make them suffer any more than made him happy.” At 64 years old, the Mickey Sabbath of Philip Roth’s Sabbath’s Theater lusts for female flesh as if (and maybe it does) his life depends on it. The master puppeteer who once used his finger puppets as a dignified career is now riddled with the aches of osteoarthritis and finds old friends and a laundry list of lovers as his remaining fodder fora relentless and hilarious week of manipulation and shameless seduction.

A man with no credo, Sabbath finds his only purpose in life cheating on his wife with the voluptuous and equally prurient Drenka Balich, who at the novel’s beginning, succumbs unexpectedly from ovarian cancer leaving Sabbath with only memories of a sordid lifetime to parse. A man in bed with the days of youthful philandering in the merchant navy and ‘60s free love, Sabbath flees his unhappy New England home forNew York City and confronts the realization that at the end of the century nothing is left for him but a tête-à- tête with a haunted history of death and trauma.

Roth’s writing is that of a craftsmen, presenting characters and situations with a relaxed grace that embodies the loquacious confessions of a protagonist spilling his guts, but without even a paucity of contrition. He fleshes out Sabbath’s saga by providing rich flashbacks, initially overloading readers with a dense history of references to Sabbath’s terrible losses, but slowly unraveling who his disappeared Nikki is, how he lost his credibility with the off-off- Broadway crowd in the ‘70s, and why Drenka’s highway patrolmen of a son has it out for ol’ Mickey. The writing is informal but wise, tight but loose – like Mickey – the narrator delving into decades old anecdotes, ribald fantasies that are confused with reality, and a twenty-one- page footnote-cum- phone sex transcript. In other words, it’s an accessible yet serious novel and gets the blood flowing in all sorts of organs.

And yet, Sabbath isn’t merely a lecherous pervert nor a villain. Our anti-hero bears much more resemblance to a Falstaffian anti-hero, a doggedly resilient man who refuses to move on or grow up, a quality both redemptive and damning. The freedom he showcases is a guiltless one: a liberation driven by his guile, lust for life, and independence. And while his obdurate isolation may appear as a shortcoming, he understands that “it’s the best preparation I know of for death,” the central preoccupation of the novel. Touché Sabbath. We’ll see you in hell.

-Jordan Finn

Waste Books Ep. 2 - Sabbath's Theater

also includes some announcements about dreyfest and about our waste radio music roundup! if you want us to play your DIY music on this feed send it over to admin@waste-division.org. for more info on dreyfest visit waste-division.org !!

find worst bois on yer podcast doohickey for more eps. and buy ur friends some gum!

worst bois 25: gumstop

worst bois is cruisin with a weekly series. look up their new channel by searching "worst bois" to hear the second & third ep! this is the description for their recent one:

"we are both getting good at oversharing and worse at broadcasting. lou seriously needs some gas meds"

that's all it says. search "worst bois" on yer podcast thing to hear more!

W.B. Appendix 004 - Chris Tsekouras & Eric Toennis

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