#hello bobby

BALLS.

BALLS.

     Writing with or about celebrities always seems to have ample standing with the majority of nonfiction writers. To write about celebrities is to right about the pop culture. They are the embodiment of it. However, its not always easy to get a firsthand view of celebs in action, and so sometimes the writer ends up making a piece about someone unknown, who simply interacted with the celebrity in question, as was the case with "Hello, Bobby." The title itself evokes Bob Dylan, while referencing yet another artist, Louis Armstrong. However, I don't think that this piece is about celebrities or musicians at all.

    Tertiary interviews happen all the time. You'll interview one person to find out about someone else, what they were really like in person. This is because its never easy to capture the essence of a human in one shot. Its even harder when that person knows they're talking to a writer, because they'll almost never be truly themselves. But, when does a piece stop becoming about a celebrity and start becoming about the person who interacted with that person? In this, I see the story of Scott Litt, not Bob Dylan. Scott Litt, who built a never used recording studio in his own home, who probably could have prevented a dislike between Paul Westerberg and Bob Dylan, and who tries to bring troubled youth from a city Boys and Girls Club into the music production industry.