Our beaut mains at @loop462 . Can’t believe it has taken me this long to eat here, so good!
→ Jul 2014 "is is the effect that listening to Joni Mitchell has on me these days: uncontrollable tears. An emotional overcoming, disconcertingly distant from happiness, more like joy—if joy is the recognition of an almost intolerable beauty. It’s not a very civilized emotion. I can’t listen to Joni Mitchell in a room with other people, or on an iPod, walking the streets. Too risky. I can never guarantee that I’m going to be able to get through the song without being made transparent—to anybody and everything, to the whole world. A mortifying sense of porousness. Although it’s comforting to learn that the feeling I have listening to these songs is the same feeling the artist had while creating them: “At that period of my life, I had no personal defenses. I felt like a cellophane wrapper on a pack of cigarettes.” That’s Mitchell, speaking of the fruitful years between Ginsberg at the abbey and 1971, when her classic album “Blue” was released."
— Some Notes on Attunement - The New Yorker
→ Jun 2014 "oss Whedon admits that the show is “overwrought” and “over the top” (6.7, “Once More with Feeling”, DVD commentary). One of the reasons Buffy appeals to us is because it takes camp glee in itself. It is filmed through a consciously camp lens, inviting camp recognition. Self-referentiality, open-endedness, incongruity and intertextual awareness, which requires pop culture expertise from the audience, are all part of the camp appeal, which contributes to Buffy’s cult following."
— Vampire Hip: Style as Subcultural Expression in Buffy the Vampire Slayer – Patricia Bieszk | Refractory
→ Jun 2014 "It is a distinct element of the heroism of Buffy’s teen protagonists that they will not go to any lengths to avoid “loser” status. Buffy, Willow, and Xander endure regular mockery, but pursue what they see as right. Buffy and Xander, both of whom are considered irresponsible by adults, both take responsibility for their friends time and again. Auerbach notes that early, pre-Stoker nineteenth-century incarnations of vampires seemed to stress, in their relationships with chosen humans, the intimacy of friendship (14). In Buffy the most notable bond of friendship is among the teenage vampire-fighters.[iii]"
— Slayage, Number 2: Wilcox
→ Jun 2014 "In the Buffy variation on vampire lore,[i] vampires have the memories and personalities of humans, but the human soul has been replaced by a demon. The single exception—the single trustworthy vampire—is Angel, who was cursed by gypsies after he killed one of their teenagers, and who himself appears much younger than the standard first-season vampire in Buffy."
— Slayage, Number 2: Wilcox
→ Jun 2014 "n the last years of the nineties, Joss Whedon attracted a passionate cult following with his very different but equally ambitious series Buffy the Vampire Slayer, freed not by paid cable but by the invisibility of the WB. Blending teen romance with classic horror, Buffy had adult resonance disguised by its juvenile title and lo-fi looks—and it was the precursor to ambitious genre programming including Veronica Mars, Alias, Battlestar Galactica, Whedon’s Firefly, Lost, and True Blood."
— Emily Nussbaum on When TV Became Art - The 00’s Issue — New York Magazine