The Porch
Other / Acoustic / Indie
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DENTON,
United States
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8316
Last Login:
5/27/2008
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| The Porch: General Info
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| Member Since | 10/14/2004 | | Band Members | Harlin Anderson, Ashley Bender, McNasty, Aaron Leis. | | Influences | Far from an exhaustive list, but all I've gathered so far....
Acoustic guitars,
Al Brilliant,
Alex Pettit,
Beowulf,
blank pages,
Borges,
Buck 65,
Coleridge,
conviviality,
David Bowie,
Death Cab,
Don DeLillo,
Donald Barthelme,
Elvis Costello,
Gaston Bachelard,
George Strait,
graveyards,
Ernest Hemingway,
Hugh Hefner,
Dwight Yoakam,
Jacques Derrida,
Matthew Klam,
Tim O'Brian,
Susan Faludi,
Depeche Mode,
Guinness,
Hayden,
ink,
Irish folk songs,
Irvine Welsh,
Jack Daniels,
Johannes Gutenberg,
Keats,
Lord Byron,
Marquez,
Metanarrative,
minstrels,
Nick Cave,
Nirvana,
Obsessive-compulsive disorders,
Rilke,
Semiotics,
Shakespeare,
Textual Criticism,
The Rat Pack,
Thomas Pynchon,
Tom Preston,
Tom Waits | | Sounds Like | Sometimes poetry, sometimes music, sometimes fiction | | Record Label | Porch Records (on the horizon) | | Type of Label | None |
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The Porch's Latest Blog Entry
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Lumberjack Fest IV
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Hiatus, etc.
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Lumberjack Fest III (February 24)
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Reading the pile
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Chapbook Release Party at SHQ!
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| About The Porch |
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Beginning as a weekend gathering of a handful of UNT Creative Writing program students who would meet on someone's back porch to discuss each other's work and carouse, and growing to a bi-weekly reading/music series, magazine, and festival, the Porch's expands on Whitman's notion that great writers must first have great audiences by acknowledging the need for good tunes and good drink as well. The writers here are influenced by everything from Irvine Welsh and Thomas Pynchon to Bachelard and Deleuze, from T.S. Eliot to Elliot Smith, Bach and chainsaw sculpture.... Finding both the coffeeshop and academic poles of writing a bit distant from our desired aesthetic, the Porch hopes to offer a venue for quality, engaging writing that doesn't insult its audience by telling too much, doesn't bore or alienate them by being overly indebted to critical discourse but remains intelligent and critical; writing that shares the stages with music, acknowledging and celebrating the songwriter as storyteller, as bard, as twin. Throw all of this in a bar, add dense smoke and a few pints, and there you have it.
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