08/22/2026
๐ข๐ฟ๐ถ๐ด๐ถ๐ป๐ฎ๐น๐น๐, ๐บ๐ ๐ญ๐ต๐ด๐ด ๐๐ฎ๐น๐๐ฟ๐๐ ๐ฆ๐ต๐ผ๐, โ๐๐ถ๐๐๐น๐ฒ ๐๐ถ๐ฟ๐น,โ ๐ฎ ๐๐ฝ๐ฒ๐ฐ๐๐ฎ๐ฐ๐๐น๐ฎ๐ฟ ๐๐ถ๐๐๐ฎ๐น ๐ฎ๐ป๐ฑ ๐บ๐๐๐ถ๐ฐ๐ฎ๐น ๐ถ๐ป๐๐๐ฎ๐น๐น๐ฎ๐๐ถ๐ผ๐ป (๐ป๐ผ๐ ๐ฎ ๐ฏ๐ผ๐ผ๐ธ โ ๐ ๐ฎ๐บ ๐ป๐ผ๐ ๐ฎ ๐๐ฟ๐ถ๐๐ฒ๐ฟ) โ ๐๐ฎ๐ ๐๐ผ๐๐ฎ๐น๐น๐ ๐ต๐ฒ๐๐ฒ๐ฟ๐ผ ๐ฎ๐ป๐ฑ ๐ฒ๐ป๐ฑ๐ฒ๐ฑ ๐๐ถ๐๐ต ๐ฎ ๐ฟ๐ผ๐บ๐ฎ๐ป๐๐ถ๐ฐ ๐๐๐ฟ๐ฎ๐ถ๐ด๐ต๐ ๐น๐ผ๐๐ฒ ๐๐ฐ๐ฒ๐ป๐ฒ.
It was a straight female artistโs โresponseโ to male desire โ obviously, that is why I intuitively quoted โDazed and Confusedโ as the intro...to symbolize (musically) "call and response" in "Little Girl" โ a spectacular work of art โ but I was not trying to "party" with Led Zeppelin in real life โ not with them or with anyone. I am never wild. I do not party.
IMPORTANT: I never listened to Led Zeppelin before the late 1980s. I was a ballerina and pianist who liked less aggressive music than that. The Zeppelin "brand" was too wild for me.
Mainstream entertainers in the music, sports, and movie/tv industries โ who create and perform within the bubble of mass-market entertainment โ often do not understand the realities faced by independent artists โ like me โ who usually have none of the pr, legal or corporate protection that they have.
Additionally, I am different from most fine artists in that โ since the 1980s โ I have been a hybrid artist-entertainer โ both avant-garde fine artist and mainstream performer โ performing in clubs and painting live on camera at Yankees Games, with no agent, no pr person, not one single person "protecting" me.
And, I am a female artist who was creating what people considered to be "controversial" art โ although my faithfully married, progressive parents and family never did. My progressive, nurturing (but not wealthy) father always supported everything I did.
Meanwhile, strangers were fantasizing and projecting their own stuff onto me, and I said almost nothing for decades, figuring that it was cooler to not talk โ just let my art speak for itself. But my silence allowed strangers in sports, entertainment, politics and business to exploit their media power to spread false narratives about me. So, yes, it's totally necessary for me to take control of the narrative around all of my art, which I should have done from the beginning.
As I referred to Led Zeppelin directly, in my 1988 MFA Show and in my 1990 Whitney ISP Show, and performed "Little Girl" in LA and New York City in the late 1980s and early 90s with "Dazed and Confused" playing as I walked onstage...and that work was so vastly misunderstood...in ways that caused long-term harm to me...yes...it is necessary to take control of that narrative so that people understand โ reality โ my real life โ who Jane Rubin is.
In my MFA Show, when I "responded," I was responding as a straight, multi-talented female artist, a painter, pianist, and dancer-choreographer. I was not responding as the "girl fan" or "groupie" of Zeppelin โ that is stupid for anyone to suggest โ and slander โ and โ while I like their music โ I hope none of the members of Zeppelin see me that way โ because that is wrong.
Nor am I theirs or anyone's "black dog" or any type of dog โ and โ referring to me like that would only be done โ openly โ to a woman of Jewish heritage โ exactly the kind of defamation that the N***s did, of course. On July 9, 2011, "Kashmir" was played every time Derek Jeter came up to bat with me standing about fifteen feet away painting him, and on June 7th, 2012, during the 9th inning of the Yankees-Rays Game, when I was drawing in the 7th row, and on my birthday, November 3rd, 2015, I was being publicly represented as their "black dog."
I do hope that the members of Zeppelin โ musical artists I respect โ were not a part of any use of their songs or song titles to traffic and dehumanize me.
No one gets to treat me that way. No one. I do not party. I rarely even drink. While I am straight, I have turned down every "proposition" made to me since the '80s by mass-market celebrities. Furthermore, I have never once in my entire life said "yes" to any "casting couch" proposition from anyone. Never. Anyone attempting to smear me on these points will face a lawsuit and lose.
I am now recreating "Little Girl," because, in 1988, I changed the ending โ at the last second โ to make it ac/dc and more โacceptableโ to the militant feminist and anti-heterosexual slant of the contemporary art world โ but I am a straight woman who should never have faced reverse discrimination, slander, libel...and really...it never had anything to do with my gender-identity...it's just envy of a talented, original female artist. The "haters" use nicknames and symbols to assassinate me โ not my real name โ because they are lying about me โ envious cheaters โ using spineless smear tactics โ because they cannot compete fairly. The image shows the first panel of "Little Girl." There were twelve B&W panels on walls painted red, in the gallery at CalArts.
Whitney Museum of American Art
