Kellow writes in his Kael bio, "Although Pauline was careful not to reveal too much of herself directly in her reviews, it had become possible for those who read her closely to get a sense of her position on various political issues - as was the case with her quip about Nixon's liking THE LAST PICTURE SHOW. At around this time she also commented that she couldn't understand how Nixon had gotten elected, because she didn't know a single person who voted for him. The remark circulated widely in conservative circles, something that delighted Pauline no end [sic]." (To be clear: this if from an advanced copy.)

Glenn: If and when you (and your readers of course) have finished Kellow's bio, I'd appreciate any thoughts. I was underwhelmed, but I'm not yet able to say exactly why. I got the impression that - whaddaya know? - I must've known more about her life than I thought I did. Repeatedly, I'd read fairly long stretches without learning much in the way of brand new info, a goodly amount of the book consisting of quotes from her reviews or from published interviews. Maybe I expected too much, either from Kael's life or her biographer, or perhaps both. Dunno. She seems like such rich subject matter. Boswell? No. Tosches...

Fine post, Glenn. Funny, but Bing's influence on 20th century American singing as a whole has been floating around my brain for several years now - it started when I read Giddins' marvelous book. Some of your thoughts seem like nailed-down, concrete versions of thoughts I've been mulling over since then. Which is why I read your blog. You're always thinking all over the place and taking ideas a half-step further. @Chris O. - There's an even more blatant steal on that album. Check out Crosby's "Red Sails in the Sunset" from 1935 (a lovely recording), then listen to "Beyond the Horizon" from MODERN TIMES. Stunning, no? If Dylan wasn't listening to Crosby when he cut those tracks, then I'm Nettie Moore. It thrilled me to make that connection along with the one you mentioned because, in effect, they're the sort of muscial/cultural threads that Dylan is weaving together all throughout LOVE AND THEFT and MODERN TIMES (and of course, practically everything else he's done). His well is deeper than Godard's.