#andy bar

[sinceileftyoublog]

The Children's Hour Interview: The Right-sized Clothes

Photo by Dan Osborn

BY JORDAN MAINZER

As guitarist Andy Bar is figuring out his preferred Zoom settings, the rest of The Children's Hour are talking about animals. David Pajo's impossibly white cat Snowball has joined the picture. Josephine Foster shares a recent dream she had where she had acquired a similarly white, fluffy dog. Pajo reminisces on playing with Superwolves for actual wolves at a sanctuary in southern California. Foster remembers a time she played a show for donkeys in Spain; two of them copulated during the set. The band continues to share unique life experiences--wildlife-related or otherwise--that, were they merely the versions of themselves who had made the album we're about to talk about, even they wouldn't believe.

In what is currently being immortalized in a Bar-drawn comic on the band's Instagram page, the unlikely story of The Children's Hour is as follows: Opera school dropout Foster and School of the Art institute of Chicago student Bar were in a trio called Golden Egg that disbanded before even finishing a song. The two decided they liked writing together, so they continued as a duo, for fun. Foster would craft a song around Bar's written riffs and chord progressions. Eventually, they had some songs, settled on a band named after a Henry Wadsworth Longfellow poem, and played at open mics, bars, and basements around Chicago. They released a self-titled EP, and then an LP called SOS JFK. Legendary venue The Hideout invited them to play a variety show hosted by none other than Zwan. (That was the night they met Pajo, who lent Foster his guitar.) Zwan liked them and asked the very band who at the time were playing tiny venues, to open for them on their tour. In order to fill out The Children's Hour's sound for larger venues, Pajo played drums with them every night. The chemistry then was as palpable as it would be on a Zoom call twenty years later. Though Foster and Bar were set to move from Chicago, they liked their new sound with Pajo, as the now-trio was transforming the old songs and writing new ones. In an effort to capture lightning in a bottle, they recorded with Paul Oldham in Shelbyville, Kentucky.

Over the next twenty years, the band didn't see each other much, and nobody could find the recordings, until Oldham stumbled upon them in his archives. So the three met to mix and master at The Bomb Shelter in Nashville. Pajo asked Drag City--the same label that approached an already signed Foster and Bar that fateful night at the Hideout--whether they'd like to release Going Home, the long-awaited second album from The Children's Hour. That's how we got to where we are, with the album coming out on Drag City tomorrow.

"To me, it's a 20-year-old record," Pajo said of Going Home. "It's a document. I can't comprehend how people will take it." Listening to the record, you can certainly hear the artistic trends of the early 2000s and the indie folk of today it would go on to inspire. The interplay between Foster's wincing lead guitars and Bar's acoustic strumming on "Dance With Me" leads a slightly twee indie pop duet, an anthem for the shy. "Adoption Day", which appeared on SOS JFK, gets a spritely guitar line and coasts along Pajo's bossa nova-esque rhythms. It's also immediately apparent how the band saw their expanded sound. The slow-burning "Rainbow" builds up like Songs: Ohia, while the gentle acoustic strums, wiry bass, and whistles of "Anna"--another rerecord--becomes an upbeat rocker that's closer to that dog. than it is to Joanna Newsom.

Going Home is also a product of the band's inner monologue circa the early 2000s, especially Foster's, as she was living in a major city following upsetting events both personal (a breakup) and collective (9/11). As such, there's a sense of urban loneliness that pervades the album. Foster yearns for the wilderness on "Anna" and "Wyoming" and pokes fun at celebrity culture on "Leader Soldier". Breezy lead single "Bright Lights" is nonetheless dark, like a diary from someone's final hours on Earth. And the title track, which Foster describes as an "old-fashioned pop song," sees her screaming her words of devotion, something that could cause current devotees of her arty folk to double-take.

As it happened between albums one and two, however, songs of The Children's Hour have the potential to grow, to take on a life of their own. They'll be playing at the Hideout on March 26th, with Sabrina Rush on bass, filling out their sound even more. "Music isn't limited by things like time," Pajo said. "One could argue no music is ever finished. You could always pick it up again. There's certainly some music I'm happy to leave behind. But The Children's Hour never felt resolved. Even now, it doesn't have to be a resolution. It's got new legs."

Below, read my conversation with Foster, Bar, and Pajo, edited for length and clarity.

Andy Bar's album art

Since I Left You: A few of the songs from The Children's Hour EP and SOS JFK ended up on Going Home, rerecorded with David. When you recorded this, with a mix of new songs and old songs, were you trying to see what you had with the three of you as opposed to just the duo?

Josephine Foster: I feel like we had made our first record in sort of a rush and weren't very comfortable with the recording process. It was a lovely opportunity, but we had never done any recording in the studio or had a label. Everything felt a little unnatural, if that makes sense. It was formative to...tour with David, for me, because it felt like we finally had the balance. The songs felt in their natural position. The new songs came forth, and everything started to feel confident and make sense. The reason we made an EP first was it was a lovely introduction to this label, Minty Fresh, but we were a really new group. We were very casual. All these things happened to us swiftly, but we hadn't really had a lot of time as a band. It was just our little friendship and fun project. I hadn't sung in a microphone before. Scarcely.

David Pajo: Wow.

JF: I didn't know how to use headphones. I was trying to find my voice after opera singing. I was super self-conscious. We went to the studio, and the gentleman from the record label was well meaning, and not that he was ordering us what to do, but he was an authoritative presence. I was like, "What is this? I don't get it." I felt super nervous the whole [time]. Then, we brought in a couple drummers we had never played with. Our friend came and played bass. [We used] a click track. All of it was new to me. I didn't know Andy as well. Honestly, I never listened to records, really, in my life. I listened to classical music. When you're starting out, you don't know because you've never tried. We made the record, but it was a patchy conglomeration of these sonic experiments. For me, [the songs on the debut are] kind of a prequel. I don't even regard them as finished products. When we met David and played them on tour every night, then we became a band. Then, when we [were making Going Home], we thought, "What are the songs [best] for this trio?" It didn't matter if we had recorded one or two of them on an EP or the [first] record. That was like the wrong-sized clothes.

DP: How did [your experience with the first engineer] contrast with the engineer we worked with?

JF: I never worked with someone again who sat there as a producer in a concept role. I was really uncomfortable with that. I know it's very typical.

DP: Hearing yourself in a microphone, especially with everything you went through, there's no brochure that explains the recording process. Everything sounds so sterile and gross.

JF: It's totally sterelized.

DP: It's really a jarring experience entering a studio like that for the first time, with all these strangers telling you what to do. I'm glad that the Shelbyville recording was the opposite. It was super relaxed. It wasn't labored at all.

JF: Just live in a room together.

Andy Bar: I don't think we did that many takes of any particular song.

SILY: Does Going Home feel like your debut album, then?

JF: To me, it does. When you make a record, you want to listen back and say, "Yes, that's what I want to hear." [laughs]

DP: Also, I think having the digital files transferred to analog tape and mixed analog brought out the best of the recording. It makes it a really pleasing listen. I listen to it all the time. I almost never listen to the records I played on for enjoyment, because I can't objectify myself and separate myself from the recording. [Going Home], I'll put it on, and it changes the atmosphere in the room for whoever is present, even for my kids or anyone who has never heard it.

Bar's comic

SILY: You've said this record is a moment in time. Since this was recorded twenty years ago, you've all released a large number of records, especially Josephine. When you listened to these recordings for the first time after twenty years, were you immediately transported back to when you recorded them?

JF: I was transported back. I felt a sort of longing to share it. There's no smoke and mirrors. There's no studio tricks. It sounds good.

AB: When I was listening to the old stuff for the first time in a while, it did transport me back to the band that I remembered.

SILY: When I listen to it, I definitely hear the sound of other music at that time, not to say that if this was recorded in 2024 it would sound out of place. Maybe this is hindsight, but it sounds like a record from the early 2000's. For someone my age, that carries a ton of nostalgia. It's a formative era in music for me. Do you remember what inspired a lot of the lyrics and narratives at the time?

JF: There are several songs where the lyrics are about living in the city. That was towards the end of all of us being in Chicago. Andy and I, not long after, maybe within the year, moved. After [our tour with Zwan], we didn't do a whole lot. I was in other bands. I was feeling that the city, as much as I love it, was not my habitat. So there's a song about leaving Chicago, called "Rainbow", that's directly about leaving town. "Anna" is about going to live out in the wilderness alone, without a boyfriend.

DP: What's "Going Home" about?

JF: "Going Home" is an old-fashioned pop song, not too specific. "Are you going home, my darling? / Wait for me." A classic folk pop song.

DP: The eternal drama.

JF: The longing for home. "Leader Soldier", however, was a little tied into the idea of fame. That's a lyric that's a bit joking, a satire. "Hey there celebrity, lost your anonymity, cannot do so easily, the things you used to do. Can you walk in company of idleness or frivolity / Can you maintain your privacy?" or something like that. "And we can tell by your color you are of the highest order / You are now a leader-soldier." The absurdity of elevating one person over the other.

DP: The weirdness of notoriety or fame. That's super cool. I didn't realize [that's what it was about.]

SILY: You mention specific places like Chicago and Wyoming on the album, which gives a specific sense of time and place. There are also some narratives, like "Adoption Day", versus something that's more intentionally vague or universal. Was that contrast, between specific and universal, something you consciously put into the songwriting?

JF: When we first were together making songs, it was very therapeutic. We had been in a band with my ex-boyfriend, and there were all these dramas and breakups, and Andy and I stayed friends, so we thought, "Let's just play music together. A gentle place where there's no pressure." We both realized we had this thing in common: He had all these foster kids in his house, and I grew up with adopted kids. We made this song about adoption, because we were thinking of all of these themes of innocence and experience. It's a very bizarre song, in a way. The lyrics are from the point of view of me when I was adopted by my father. "Happy are we / Now we are three / A family / Mother, father." Andy would come in with these hooks, an atmosphere, and I would think, "What is this conjuring up?" I'd try to find a lyrical theme, which I hadn't done much of in my life, working with someone else's raw materials. I find it very hard. Andy's got such a beautiful, colorful, rich ideas as the compost. What do you remember about "Adoption Day", Andy?

AB: I was excited when we decided [to write about] what Josephine was talking about, because it was personal and special to me. My parents were foster parents who took care of a lot of kids.

SILY: "Adoption Day" is one of the songs on both records. I don't know whether this is merely a product of David joining, but the huge difference to me between the records is the use of dynamics on Going Home. There's a little bit of that on SOS JFK, but I was really taken by it on this record. Can you talk about the main sonic differences from your perspective?

JF: I feel like that record was sort of demos that were being supervised by some manager you don't know. There was a stiffness that loses the coherence [from splicing takes.] I don't do that at all anymore [when recording;] I just listen for the best take. We'll look for the most interesting blemishes. David is so musical and dynamic, he's feeding this brilliant energy, this thing that gives life. His presence is transformational.

AB: He just added so much. There were new songs like "Dance With Me" that we were working on that we couldn't have done without the confidence we gained on the tour and playing with David.

DP: You go from playing the Hideout to on tour with Billy Corgan. It's intense. I feel like I had the best job of all. There was the songwriting collaboration and the relationship between you guys and just the vibe. In that time, I was living in a really jaded, music business-oriented way I'm really happy to never have seen again. Children's Hour was this ray of hope and light. I felt like my job as a drummer was just to stay out of the way, almost to just be a metronome. To not caricaturize the dynamics just because we were going to be on bigger stages. Just keep it steady and quiet. I could lay into it a little bit more [live] to wake people up because they get bored and fall asleep easily. [laughs]

It was really perfect. It was done with zero ambition. It wasn't like, "We have to make a record with pop songs and make everything hi-fi." It was, "Let's record what we have because we're not going to have much time after this." I guess we knew that we were all going our separate ways afterwards or had seen we didn't have time to play together. The recording seems really light-hearted and pure in that way, too. It's what I needed at a perfect time for me, personally. Music that comes from a pure place to center me again so I'm not distracted by the garbage that comes along with being a musician. [laughs]

SILY: It's come full circle: You're playing at the Hideout next month! What's the experience been like trying to "adapt" these songs to the live stage? Are you playing songs from the first record in addition to this one?

JF: That's a very good question.

DP: I don't know if we've even gotten that far yet.

AB: We're at least playing most, if not all of the songs on the new album. From there, we'll decide how to fill out the rest of the setlist.

JF: Andy's a standup comic, so he needs to start getting some jokes ready.

DP: That's a great idea!

JF: Sabrina will be playing, so we'll be able to have David's wonderful bass lines represented live. That will be the first time we'll have heard it all live in that sense. That's the only thing we didn't record live. David put the bass lines on [separately]. I think it was in the same session, though, so it was all coherent to that moment.

DP: My idea was to put bass on all the songs. I was like, "You know what, I might have to come back to this." 20 years later, I came back to it. They were all complex to me.

JF: It was just "Rainbow" that you put bass lines on 20 years later, right? Like a little cherry on top.

SILY: This might be premature, but do you think you'll write new songs together?

AB: We're definitely gonna jam with each other and be creative together. You don't know what will come from that, but that's how we are.

DP: Relearning the songs is going to be the priority and take up most of my time. Once we're at that point and confident again, it doesn't seem like anyone's against learning a cover song or playing new songs.

SILY: What's the background behind the album art?

AB: In my head, it took place in the Hideout. It's the best I can remember, an image of playing a random club in Chicago.

DP: There's no pictures of the three of us together. You were actually drawing from memory. It's really cool. It's a nicer way than promo photos.

AB: We're relying on our mental photography. I'm also doing comics for this release drawing on our memory.

JF: We ran into this thing where Drag City kept going, "We need a photo of the band!" We couldn't photograph ourselves. We must have been right on the cusp of the digital explosion. I found one grainy photo my mother took of us all that's the only photo of us playing live. We were playing in a massive place. Nowadays, you'd have tons of photos no matter what. We must have been right before that. The Zwan fans were just jamming to us and brought their cameras out later. There's not any documentation of us live.

DP: The Internet hadn't really taken over yet.

AB: There are still pixelated pictures coming out from the time.

JF: Zwan was in the tour bus, and our car broke down after the first show. Some girl lent us her car for the whole tour. She was like, "Just take my Jeep!" We had a big atlas, would look at the city part of the atlas, go downtown, and just ask directions to get to the venue. We didn't have any GPS or anything. When I think about that, it just cracks me up.

DP: There were some soundchecks where you barely made it. You were always on time, but you had just gotten through some huge drive. Did you ever have to leave after the show while Zwan was still playing?

JF: Yeah, to go to a motel closer to where we were playing the next day.

DP: You were thrown into touring having barely played actual rock shows. It's remarkable.

JF: We regarded it as a once-in-a-lifetime thing. We weren't looking for it, and it was probably never going to come again.

AB: You guys were incredibly sweet. Of course, you probably liked our music. I liked you guys personally.

DP: For all the bands that opened for Zwan, The Children's Hour was the only one we always wanted to see and hang out with. It was always a breath of fresh air when you guys were there.

SILY: So what's this press photo taken by Dan Osborn?

JF: He photoshopped David in the doorway!

DP: Theoretically, you could have any drummer. You could photoshop John Bonham in there.

SILY: Or Neil Peart.

AB: I'll photoshop a four-armed drummer in there, Neil Peart and John Bonham.

DP: Or [Def Leppard drummer Rick Allen's] arm.

[axolotlclown]

Ok, none of you know what's going on. None of you understand why so many women and young streamers are stepping forward right now. None of you understand why this has to be public.

Multiple large streamers have used their fame, influence, and money to manipulate and abuse those they see as below them. So long as they continue to have fame, influence, and money, this cycle will not end.

This is bigger than just individual cases of sexual assault or other abuse. This is a break down of a much larger problem within the entertainment industry.

These women are telling stories about very powerful men in this space. They are sharing stories of abuse and manipulation. This is very scary for them—it could ruin their careers or lives.

Stop saying "they should have handled this privately." This isn't a private matter. So long as these men have power, they will hurt more women. They aren't sorry. They won't play fair.

By trying to stay silent and bury these accusations, you are ensuring these women never know peace. You are ensuring that more women get hurt.

One day your boss will assault you, and all the men in your life will blame you for waiting as long as you did to speak about it. They will find any reason to blame you. They don't want to get rid of your boss. They hope that one day, they can assault a woman just like you.

This is fucking serious. This is real life. This isn't just some fucking fandom drama that we can bury and move on from. These are real life issues that require real meaningful discussion.

Stop trying to discredit these women just because your streamer is in trouble. You are part of the fucking problem.

[julykings]

from april

[pixelatedquarter]

guys andy got the xvx heart tattoo at their wedding!

[andi-o-geyser]

she’s my new favourite. horrors for all fucking time

[meowunmeow]

HE'S SO VILE FOR THIS WHY IS HIS CENSOR BAR STICKING OUT FROM HIS PANTS

what are you trying to tell us.

[emmafallsinlove]

Not a single minute. You really are the first.

[deadlybloodshade]

Some Andy doodles for the soul (Ps in the icecream image Ann bought him another one so do not worry 🥳💕)

[solargeist]

Scar confronted Grian after his first death but Grian is hiding behind his shield is so funny.

"Why are you peeking ? Why are you peeking over here, what did you do-?"

[spocks-kaathyra]

how did you make those holy shit!!!

jfjskdk okay I'll take any excuse I get to talk abt this more

How I made my Cardassian prosthetics

Disclaimer: I'm no expert, it's my first time doing this!! All the resources I used can be found online. In fact, here's a playlist of all the youtube videos I followed, in case you don't want to read the whole post. You can pretty much make any facial prosthetics following these steps, not just Cardassian ones.

What you'll need:

Plaster bandages, plaster of Paris (a lot more than is pictured here), modeling clay, and liquid latex. You'll also need some things you probably already have around the house, like vaseline (or cooking oil), plastic wrap, wood glue, rubbing alcohol, q-tips, cotton balls, and setting powder (or baby powder).

Step 1: Face cast

The goal here is to make a plaster copy of your face that you can sculpt your prosthetics on, by covering your face with plaster bandages and then casting that in plaster of Paris. This is the video tutorial I followed for this step. There are many methods, and you'll find tutorials for all of them on youtube, but this is the easiest way if you're doing it by yourself, and it results in a perfectly useable face cast for our purposes. And, if you're cosplaying Garak like me, it's a great way to get into character by experiencing claustrophobia for the first time in your life!! (Jk it's not actually that bad. I lived.)

The video explains the process better than I could, but here's some tips I learned from doing it! Wear a shirt that you don't mind ruining. Go a bit closer to your eyes than I did here. When you're propping up your mask in a bowl, make sure you're not squishing any parts of it or tilting it! I ended up with a dent in the chin of my face cast because I accidentally dented the mask while I was casting it. And make sure you have enough plaster of Paris! I probably used 2-3 pounds for this part. Here's what I ended up with, before sanding or sealing it with wood glue:

Step 2: Sculpting

This is pretty self explanatory, but also probably the hardest part. Just use lots and lots of reference photos. I've got a pretty good stash for Garak, if anyone's interested hdjkfhk. I found that gifs made better references than still photos, since they give you a better sense of the 3D shape. You want to make sure you're using modeling clay that doesn't dry. You don't need any fancy sculpting tools! I used my trusty palette knife to get the small details, but you could probably accomplish the same thing with, like, a spoon and a toothpick. It depends on what kind of clay you're using, but you can dip your finger in a solvent to smooth out the surface of the clay and blend the edges into the face cast. I used rubbing alcohol, but I also heard people recommend acetone. Once you're happy with your sculpt, you can move onto the next step!

Step 3: Casting negatives

This step is technically optional. The video I followed also outlines an easier way that skips this step, by simply building your prosthetics directly on the sculpt. But casting negatives allows you to get a lot more fine detail, and a smoother finish on the final prosthetics, so that's what I chose to do. Basically, you pour plaster of Paris over your sculpt, and it hardens into a mold you can use to build your prosthetics on.

Again, the video explains it better, but some tips! If it's possible with your sculpt, do it in small pieces instead of the whole face at once. I did the chin, nose, and forehead separately. If you try to do the whole face, there's a greater chance of it getting stuck or breaking. Of course, if you were doing, say, Odo, then it might not be possible to do it in multiple pieces. Another thing to watch out for:

If your underlying face cast has any "undercuts," or places where it's, like, concave, then if plaster gets into those areas and hardens, your face cast and your negatives will lock together, and you won't be able to use either of them. For me I was worried about the sides of my nose and under my bottom lip. As long as those parts are filled in with clay, then you should be fine. It's okay if your clay sculpt has undercuts! You can see in the (shamelessly stolen) diagram that their sculpt has a lot of undercuts, but that's okay because the clay is soft and won't lock with the plaster, it'll just come off. The video I got the diagram from was also pretty helpful, even if it's meant for casting with different materials than I used. Here are the completed negatives:

Step 4: Making the prosthetics!

Now you have negatives! Your sculpt may or may not be intact, but if your negatives turned out okay then that's fine. This step is also covered in the video for step 3. Using a stippling sponge, foam brush, or q-tip, stipple thin layers of liquid latex onto your negatives. I found that a q-tip worked best, even if it took longer to cover larger areas. Make sure the edges are very thin, so you can blend them into your skin when you apply the prosthetics. Wait for a layer to dry before adding more latex on top of it, or you'll end up with fucked up results like I had:

(Left: first draft, where I didn't let it dry enough before layering more. Right: second draft. Much better!)

Build up bulky areas with pieces of cotton balls, then cover the cotton with a thin layer of latex. Emphasis on thin! It'll take forever to dry if you saturate your cotton with too much latex. This step mostly involves a LOT of waiting. When the latex is fully dry, brush everything with a liberal amount of setting powder or baby powder to prevent the latex from sticking to itself as you peel it out of the mold.

And now you have your prosthetics! You can tear away some of the excess latex at the edges to make it fit your face better. I ended up tearing away almost all of the edges around the eye ridges, so it would blend better and I wouldn't have to get adhesive so close to my eyes. Tear, don't cut! It'll result in a more natural edge that's easier to blend. This video shows how to apply prosthetics. Use whatever prosthetic adhesive you want! I used spirit gum because it's what I had on hand.

Now you can go forth and live out your lizard alien dreams!!

[puck-luck]

bc it all i can think about; im returning to add onto my previous rant of oral fix!luke, namely, him sucking on your fingers. also i didn’t proofread so idk how coherent it is

he was needy all day, practically attached to your hip, so when you finally lowered yourself down onto his dick, he was puddy under you. You would start teasingly slow, rocking back and forth, moaning when his tip nudged at your g-spot. he would be blabbering incoherent sentences with every roll of your hips, the only eligible words “fuck, feels so good, feels so good baby” and little whimpers.

When you sped up, now beginning to lift yourself of his dick and back down again, he nearly screamed. He was soooo pent up :( it just felt too good! he just needed his pretty girl to spoil him.

It would get to the point that his hands were permanently attached to your hips, his moans echoing through the room, accompanied by the squelch of your cunt and the plap of your hips hitting his. He would get so vocal, and a little bit of drool would dribble down his chin, and you’d just coo at him, saying stuff like “aww, feels good huh? got you all worked up, pretty boy. that’s it, uh huh, good boy”

When his moans begin to blend into screams, you slow your movements, frowning at him.

“gotta be quieter, love, or do you want everyone knowing how good i fuck you, hm?”

and so you would press your fingers (which were only recently rubbing on your clit, still covered in your slick) against his lips as you sped up again, and he would be so eager, his lips immediately wrapping around your fingers to taste the sweetness of your pussy. you’d smile, rubbing his cheek when he whimpered and bucked into you, making you flinch in pleasure.

it would go on for a while, him moaning around your fingers while he humped upwards into you, tip nudging that little sponge spot inside you everytime your bodies met.

when he finally came, his sped spilling into the condom, you could’ve sworn he passed out. his only tell tail signs were the whimpers and shaking of his hips, bringing you to your own orgasm.

afterwards, when you had cleaned the two of you up, both of you lay together, him smiling with his face resting on your breasts. You would play with his curls, smiling as you both dozed off into the best sleep you’ve had in a while

Guys I can't even begin to describe how I feel about this.

It took me. Five minutes. Going line by line. GIGGLING. CUTTING MYSELF OFF SO I WOULDN'T READ AHEAD. before i finished this.

i was whimpering like fucking Luke. are you KIDDING me?

take a nobel peace prize. i want to shake your hand and, in a biblical sense of respect, wash your feet.

motherFUCKER.

you have a gift. and i'm screaming, melting into a puddle on the floor as i reread this AGAIN because it's JUST. THAT. GOOD.

[tokiro07]

Google, show me this guy's censor bar

[twixnmix]

Dolly Parton with New York Giants football players Andy Headen, William Roberts and Lionel Manuel at Gotham Bar & Grill in New York City on January 14, 1987.

[hedonists]

Anyway. Fuck transphobic metalcore dudes and all their enabler friends.

[andi-o-geyser]

Pondering her orb

[carbuckety]

Bob Dylan & Andy Warhol

Screen Test - 1965