The Dodgers officially clinched the NL West crown tonight. More importantly, they eliminated the Giants from the post-season.

Neal and I attended last night’s game, which went four hours and twelve innings. The Giants pulled off a win at the last moment. I don’t know why it mattered so much. The season’s result was inevitable. I just didn’t want to have to see it in front of me. So my son and I planned from the beginning to leave early if necessary, so we didn’t have to watch the Dodgers celebrate at our house.

Like I say, the Dodgers eventually did celebrate. But I wasn’t there, and that makes me happy. Or rather, it would have made me very sad if I’d be there tonight. Of course, I wouldn’t have seen it if I’d been there tonight, anyway, because I would have left by the 6th inning.

My son-in-law and grandson, both Dodger fans, will be at the park tomorrow night. It will be the first major-league game for Lex, who just turned 10. I’m glad he won’t see the Dodgers clinch ... I know that sounds mean, but I don’t intend that to be the case. I just assume Giant fans were shitty tonight towards Dodger fans, and hopefully Lex won’t suffer from that tomorrow night.

the moon

We tried to see the moon tonight ... even drove around looking for a better vantage point ... but the fog wasn’t letting us enjoy the big event.

Then finally it appeared, still in total eclipse. It was covered in a thin sheet of fog, and you had to put your hand up to hide the street lights, but at least we got to see it.

The best part, though, wasn’t the moon, it was the people. I was sitting on the porch. A man walked by, and I said something about the moon. We exchanged a few words, then we exchanged names, then he told us he had retired, but he had been one of our garbage men for many years. A couple of guys from down the street walked up our way, wondering if we could see anything. Robin used an app on her tablet to figure out exactly where to look, and she was the first to see the moon. After a couple of minutes, the other guys walked back to where they had come from, and immediately they called us to come over, explaining that you could see the moon much better from their vantage point. We went there and sure enough, the view was better. One of the guys went inside his house and brought his mom out to see. Across the street, a few people came outside ... they didn’t come over to our side, because from where they stood, there was no interference from the street lights. Soon, a few other families came over, parents pointing out the moon to kids, everyone just chatting about it.

I’m not big on nature, and I’m not exactly Mr. Neighborhood. But damn if that moon didn’t bring us all together for a moment.

anthologies and me

With the publication of Talking About Pauline Kael: Critics, Filmmakers, and Scholars Remember an Icon, I have returned to the world of anthologies. I was once asked why I had never written a book, and my reply was truthful, if also a bit smart-ass: I’m too lazy and unambitious to write a book. Now, to take just one example, the combined posts on film this blog has featured over the past 12+ years would fill a couple of books. It’s not the writing that drags me down. But doing anything with that writing beyond posting it here ... I’d just as soon give it away for free.

I’ve answered a few calls-for-papers ... that’s how I ended up in the Kael book. But I’ve also been handed some assignments without my even looking. If I remember correctly, I had two such opportunities in 2005. I could be wrong (insert obligatory comment about the varying reliability of memories), but I think Nick Rombes contacted me first about participating in a book on punk cinema, having seen something or other I’d written. That ended up being one of my favorite essays, “Making It Real”, which started off quoting The Adverts and ended with Sid and Nancy. My author’s bio for that one read, “Steven Rubio is a former steelworker who left the factory and picked up a doctorate in English from the University of California, Berkeley. A film major in his long-ago youth, he saw the last Sex Pistols concert to include Sid Vicious, and has waited ever since for someone to ask him to write about punk and movies in the same essay.” (The key, I suppose, is the part where I was waiting to be asked ... no wonder I never wrote a book.)

Also in 2005, I got an email from the folks at BenBella Books, who were publishing an anthology on NYPD Blue and had read something I’d written on that topic. That led to a fruitful period when I wrote six pieces for them in three years, covering NYPD Blue, King Kong, James Bond, Battlestar Galactica, House, and 24. Some were better than others ... I particularly liked the one on BSG, and both the Kong and Bond essays took on their subjects through the side door (for the King Kong book, I wrote about the mid-70s remake, and for the 007 book, my topic was the best Bond villain and I chose Klaus Maria Brandauer’s Largo in the “non-canonical” Never Say Never Again).

I was also proud to be in The Aesthetics of Cultural Studies, edited by the great Michael Bérubé. That was arguably the best academic-style essay I ever wrote, covering Bugs Bunny, Picasso, The Proms, and more.

It was in the BenBella period that I experienced a variety of editors. One, Leah Wilson, was among the finest editors I have ever worked with. But on a couple of occasions, they used “star” editors. So Say We All: Collected Thoughts and Opinions on Battlestar Galactica was “edited” by actor Richard Hatch. The oddest one, though, was Jack Bauer for President: Terrorism and Politics in 24. The general idea was that we should avoid being too polarizing in our essays ... you might recall that in its day, 24 elicited a lot of heat, both pro and con. My piece was called “Can a Leftist Love 24?” Late in the project it was announced that the guest editor would be Richard Miniter, whose most recent books included Shadow War: The Untold Story of How America is Winning the War on Terror and Disinformation: 22 Media Myths That Undermine the War on Terror. I joked to one of the actual BenBella editors, “This project has come a long way, from not wanting to be polarizing, to signing up Richard Miniter!” I had been told that he was “extremely enthusiastic about the project”, and now I was informed that “he really seemed to like your essay”. Hearing that, I just asked that no one told my friends in Berkeley. (My author’s bio for that one began, “Steven Rubio has never been cornered by a mountain lion.”)

If I made an anthology of my writing, a “Best of Steven” if you will, I imagine there would be a connected feel to it, primarily because “I” is an important part of all my writing. What is interesting about being in an anthology, though, is that you aren’t connected to yourself, you are connected to others through a common topic. In the spirit of this realization, I decided to read Talking About Pauline Kael from start to finish, hoping among other things to see how I “fit”. (Until the book arrived, I had no idea who the other writers were.) My essay comes late in the book (the 20th essay of 22), so I figured by the time I got around to re-reading what I’d written, I’d have a sense of the context into which I’d been inserted.

The first two sections of the book, “Friends, Neighbors, Confidantes” and “Knowing Pauline: At Home and at the Movies,” are written by people who had a personal connection to Kael. Polly Frost and Ray Sawhill were introduced to each other by Pauline (they later married). Frost’s essay is the first in the book, and it begins, “Pauline Kael liked to dial up her friends at all hours, engaging in long conversations.” I like that the book starts with a personal anecdote, because even those of us who didn’t know Kael felt that we “knew” her, and the inspired subjectivity of her writing encouraged that kind of relationship. Frost’s thesis, echoed in the title of her essay (“Performing Pauline”), reminds us, from the perspective of someone who really knew her, that “Pauline Kael” was not the same as Pauline Kael (a point I make in my own essay). “I suspect that one of the reasons Ray and I, and a few others, became as close to Pauline as we did was that, even during her peak years, we understood that there was a distinction between the public and private Pauline Kael.... She’d created one of the great characters of our age and had given one of the era’s great performances”. Frost finishes her essay with this sentence: “Pauline taught me that in the end it’s all in how you play yourself.”

Ray Sawhill reiterates this in his piece, the longest in the book. “She trusted us, and a few others ... I think this was mainly because we let her be herself – not the “Pauline Kael” of legend, but the quirky person who’d created and put over that larger-than-life character.” (Sandwiched between the Frost and Sawhill essays is a reprinted column by Roy Blount Jr. which seems placed there because he was Kael’s neighbor.)

The next essays follow up on the “we knew her” theme, as witnessed by the titles: “Conversations, 1968-2001”, “Knowing Pauline”, and “Encounters with Kael, 1975”. And the following section, “Objects of Her Affection: Critics, Journalists, and Movie Makers”, continues this from a different angle. David Denby (a “Paulette”), writer/director “Paul Schrader” (whose essay is called “My Family Drama: Pauline Kael, 1919-2001”), writer Joan Tewksbury (who tells an anecdote about Kael on the set of Thieves Like Us), all accompanied by a couple of “What I Learned from Pauline Even Though I Never Met Her” pieces. This section also includes a reprint of Sanford Schwartz’s introduction to the Library of America anthology of Kael’s work, and it is here that we get the first evaluation of her writing that comes from a place other than the personal.

Finally, halfway through the book, we come to “Stop Making Sense: Academics Consider Pauline Kael”. I say “finally” because my impression, from the Call for Papers to my interactions with editor Wayne Stengel (a professor at the University of Central Arkansas, and a pleasure to work with) to the way I approached my essay (which isn’t quite filled with academese, but I did include notes), was that this would be an “academic” book (I was thinking of the potential audience, but I suppose another way to separate “academic” from “non-academic” writing is that I didn’t get paid for this book, unlike, say, my work for BenBella). I’d say it’s the best kind of book, a blend of the academic and the ... I don’t really have a word for the opposite. Nonetheless, this section, featuring two professors, two graduate students, and Stengel himself, is pretty clearly marked off from what has come before. It is in many ways the most interesting section of the book, for Kael was well-known for her anti-academic stance (note that this was not the same as anti-intellectual ... she was never the latter, despite being accused of it on more than one occasion).

Steve Vineberg actually talks about her writing (I call him a professor, but his essay is a reprint from 1992 ... he might not have been teaching yet). Susie Linfield compares Kael to Siegfried Kracauer, which is fascinating in part because of the oddness of the subject. (She starts, “To discuss Pauline Kael and Siegfried Kracauer in the same essay seems, at first glance, exceedingly odd. And not just first glance.”) In “The Ghost of Pauline Kael,” Amanda Shubert asks for a moratorium of sorts on a certain kind of critique of Kael: “Pauline Kael lingers in a half-life in the cultural imaginary, unjustly pigeonholed and damned by derision and faint praise. It would be a grace finally to allow her to die. How else can we give her work a rebirth?” (Shubert also states, “My own frequent conversations with Pauline Kael have taken place solely in my head. There’s a good reason for that. I was only thirteen years old when she died in 2001.” Those “conversations in my head”, which resonate with people like me, remind me of the relationship between Six and Baltar in Battlestar Galactica.) Jason Kelly Roberts, like Linfield, takes on a topic that has been curiously ignored, Kael’s early essay “Movies on Television”. This piece benefits greatly from the focus Roberts can place on a single text. Finally, Wayne Stengel discusses “Performance Art and the Siren Songs of Pauline Kael”, where he claims that Kael “cultivated the most distinctive, jarring, and sexualized performance voice of any culture critic America has produced.” We’ve come full circle from Frost’s notion that Kael created “Kael” to Stengel’s recognition that Kael gave us a performance.

And then, at last, we come to the section that includes me, “Unraveling Pauline: Origins and Influences”. Maureen Karagueuzian offers an analysis of the now-legendary Berkeley Cinema Guild (in my bio for this book, I wrote that I “once lived half a block from the building where Pauline Kael had run the Berkeley Cinema Guild”), and Lisa Levy notes the importance of R.P. Blackmur on Kael’s approach to criticism. Which leads to my piece ... I’ve gotten to that point where I know what has come before, and can apply context to what I wrote for the book.

I’m trying to explain myself to myself.

My essay is called “Kael’s Influence: Expansive Subjectivity”. I don’t remember who came up with the title, but Wayne Stengel was quite taken with my concept of “expansive subjectivity”, so I suppose it was bound to be in the title somewhere. That phrase may turn out to be the one thing that lasts from my piece ... if you ever see anyone using that term, I did it first (at least, to the best of my knowledge). I used it as a counterpart to what Kael called “saphead objectivity”. The subjective part is obvious ... it’s also the easiest to emulate. Any writer who wants to attach themselves to whatever prestige comes with the Kael name can cite her whenever they offer a completely subjective response to a work. (I’m of the opinion that all criticism is subjective, but it’s kind of like fiction writers who want to write like Kerouac, or rock critics who want to write like Lester Bangs ... they copy the easy stuff, don’t understand the complicated stuff, and end up producing writing that borrows the worst from their idols.) It is crucial, I think, to understand how Kael’s subjectivity was expansive:

Kael demonstrated the freedom a critic could have to be subjective, but to this quality she added her understanding of the humanities in general. ... Kael didn’t confine her review [of The Bostonians] to the film adaptation; she also discussed in detail James’s novel and James’s life, and considered the effectiveness of the movie as a vision of the writer. Yes, her approach was subjective, but it was expansively subjective. For Kael, the movies did not exist solely for her opinions about them; she was no solipsist.

The way I honor her influence on me (and I hope I do more than emulate) shows itself in multiple ways. My first paragraph is about the Kael section at the Rockcritics.com website, as a way of showing how her influence reached beyond film. I talked about the “progressive passing along of influence”. I wrote about this many years ago, after Kael and another personal influence, political science professor Michael Rogin, died.

Cultural critics like Pauline Kael and Michael Rogin are rare, but their influence is long lasting. We miss them when they are gone, but one can state with assurance (and without resorting to New Age mysticism) that in important ways, they aren't really gone at all. Their work lives on, and by "their work," I don't mean only the words they published. I mean that one day, a young scholar named Greil Marcus took a course from a professor named Rogin, he read a book by a critic named Pauline Kael, and the next thing you know, he was writing books of his own. I mean that one day, a young factory worker named Steven Rubio read one of those books Greil Marcus wrote, and with sudden (and unusual) clarity, knew the direction his life would necessarily take, and down the road, he was writing and teaching himself.

I argue that the whole notion of “Paulettes” who followed Kael in lockstep was nonsense. “For the critic who truly wanted to follow in Kael’s footsteps, subjectivity would necessarily be crucial, and that subjectivity would ensure that the critic wasn’t merely parroting Kael.”

I addressed the idea that she was anti-intellectual by separating it from her very real rejection of “respectable tradition”. “[S]he never tried to hide her intelligence nor her range of reference in making connections between high culture and bastard, hybrid, but equally valid artistic impulses. She loved the pedigreed and the cur with equal ardor.” (That last sentence is a sign that my essay was carefully edited. It wasn’t in my original, and I don’t know that it “sounds” like me. But when I read it, I wished I’d written it.)

I finish with my oft-told anecdote about publically claiming that Kael was the most influential woman in my life. As always, there’s some hyperbole involved ... as I note, the real person for that role is my wife. But I was offering “some existential intention”. Perhaps it was this conclusion that led Stengel to call my essay “charming” in his introduction.

The final section of the book contains pieces by Kael’s biographer, and the editor of a book of Kael interviews.

So, where do I fit? I didn’t sense any great drop off when my essay came up. If the writing overall isn’t as idiosyncratic as my usual, well, that often happens to me in anthologies. The idea of giving your work over to someone else for improvements is perhaps essential to anthologies, and in general over the years, I’ve been happy with the results. It’s not as if I submitted a book of my own writings and it was accepted without edits ... every published book involves an editor (or it should ... I guess with the easy access to vanity-press self-publishing in the Internet age, more unedited material is out there, starting with blogs like this.)

What makes me happiest is that I am finally part of a group of statements about Pauline Kael. It’s good company ... can’t go wrong with the likes of Joan Tewksbury. But it remains odd to see my thoughts contextualized by the thoughts of others. It’s the furthest thing possible from a blog post. But now, when someone asks what I think of Kael, I have a place I can point them to.

like a rolling stone

I don’t write about it much, because it was most intense in that period from the mid-60s to the mid-70s, and I wasn’t a writer then. But I had a serious obsession with Bob Dylan in those days. I read and re-read the biography by Anthony Scaduto in ‘72 ... heck, I even read Tarantula and pretended to “get” it. We saw him for the first time in 1974 with The Band, and again in 1978 (without The Band ... ah, Street Legal, if nothing else you put a temporary stop on my Dylan obsession). I remember when the TV special Hard Rain was telecast (filmed at the end of the Rolling Thunder Revue), some person whose name I have long forgotten addressed the mostly negative reviews by claiming those critics were missing the point ... that the next day, all sorts of young while males would start wearing scarves on their head, emulating their idol.

And yes, the next time I showed up at work, I had on a head scarf.

Blood on the Tracks meant a lot to me, because it was the one great album of the early years of our marriage. I thought Planet Waves was that album, until Blood came along and showed just how far such an album could go.

And I’ve mentioned before that Bringing It All Back Home was one of the first albums I ever bought.

But towering above all of this was “Like a Rolling Stone”. I used to think of it as our generation’s National Anthem, and I probably don’t say that any longer because I don’t say that kind of thing any longer.

And it’s all over the Internet today, because it’s the 50th anniversary of the day “Like a Rolling Stone” was recorded.

Alongside all of the words being written, there are many photographs of the recording session. And for some reason, that’s where it hit closest to home for me. The pictures offer concrete proof that a group of people recorded that song.

Because when I look at the pix, I realize I find it hard to believe the session happened. It’s more that “Like a Rolling Stone” just fell from the sky.

Andy Greene at Rolling Stone called it a “venomous song”, and I’m not saying he’s wrong ... you can find a lot of people agreeing with that sentiment. Me, I think if you want an example of Venomous Dylan, check out his next single, “Positively 4th Street” (“You’ve got a lotta nerve to say you are my friend”). Or, what the heck, “Don’t Think Twice, It’s All Right”.

Here’s the thing ... when I hear “4th Street”, I hear Dylan just crushing the object of his dismissal. And yes, there is some of that in “Like a Rolling Stone”. But the way the chorus line “HOW DOES IT FEEEEEEL?” is like a sing-along has always led me to believe Dylan included himself among the complete unknowns. This is why I thought of the song as a national anthem: it was the story of all of us. (“Positively 4th Street” could never fulfill that function.)

it happened again

I’m going to have to add a new blog category for these things if they keep happening.

To recap: a little more than a week ago, I wrote a Throwback post about how twice in recent times I’d gone looking for something on Google and found that the source for that something was me.

Today, on the Greil Marcus website (which seems to be the genesis for a lot of this), they posted Marcus’ Rolling Stone obituary for the great Ralph J. Gleason. It was lovely, because Greil and Ralph were friends as well as colleagues. (And I connected with that obituary because Marcus and Gleason and I are/were all Bay Area-centric, so I knew what Marcus describing.)

I can think of two great music-related obituaries, each of which took a different approach. Lester Bangs’ piece on the death of Elvis is as good as anything he ever wrote. It is also, as was often the case, longish and rambling. And then there was Miles Davis, who was one of the many contributors to that Rolling Stone issue from which Marcus’ piece was taken. I’ve never forgotten it, because it was so perfect, but also because it was so brief, I could memorize it. Miles said, “Give me back my friend.” Five words.

I quickly googled to check the quote ... a silly thing to do, I know it by heart ... and the second suggested link took me to Rockcritics.com, where someone had quoted Davis in the comments section. Guess who was the person with the quote?


Steven Rubio.


Something I wrote in 1997:

In Defense of Fucking Off

This is what we know. In the future, we will always fuck off. No one will work. You won't feel pain, you'll revel with family and friends. There will be no labor; what the heck, since this is utopia, neither will there be death. No work will be freely chosen, because no work will be done. You will fuck off forever, you will make no sacrifices to the work ethic, you will fuck off in as many different ways as there are molecules in the universe. Fuck work. Fuck off!