Daisy Records
PSYCHE TEE / BLACK

to Be’s second issue explores the theme, Times Are Changing, which delves into our contributors’ approaches to a rapid and radical global environment. Whether it be social identity politics, subcultural plights, or technological advancements, to Be consolidates its contributors’ takes on how the times are affecting their personal and professional outcomes.Some of the contributors include Ed Templeton, Erwin Wurm, Joshua Gordon, Moma PS5, Kembra Pfahler, Chad Moore, Eartheater, Sam Quealy, Eugene Rabkin of StyleZeitgeist, The Drunken Canal, Al Gharib, Ute. Records, Perila and more.

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the Village Voice and Crawdaddy!, Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In You Should Have Heard Just What I Seen, Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for Harper's Bazaar and the Village Voice, Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of Crawdaddy! magazine. Later Hamilton joined The New York Observer and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer304 pgs, 27 × 30 cm, Hardcover, 2015,

Quality waterproof decal measuring 13.5 x 5.5 cm suitable for both outdoor and indoor use.RED ON WHITE.

Our classic record store logo tee screen printed on 100 percent box fitted cotton tees in Melbourne.The logo sits 30cm wide across the chest

Classic pink chest screen print- Boxy Oversize fit.- Heavy weight.- Set in sleeve with cuffs.- Two needle coverstitch front pouch pocket and ribwaistband.- Double layer hood.- Low pill fabric.- 310 GSM.- Rib neckline, cuffs and waistband.* Hoodies fit large so we advise buying a size smaller than usualManifactured & designed in Melbourne / NaarmDO NOT TUMBLE DRY, HANG DRY ONLY.

‘There is a common assumption about youth which is: Youth is about youth. But that isn’t really true. Youth is really about the past. Youth is not the pool that young men gaze adoringly into; it is the pool that old men gaze in, in order to measure the distance their bodies have traveled’. - Collier SchorrCollier Schorr met Paul Hameline, a young French artist and model, in New York in 2015. A friend of a friend came to her home for a ‘go-see’, which is when a photographer gets to see how a model looks in front of the camera. Paul’s family lives in the Marais section of Paris around the corner from the hotel Collier stays at while in Paris, so they began to meet and to make a project that lasted two years in which Collier would visit Paul at his parents’ house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other’s fascinations and fantasies. Many of the pictures were published in Re-Edition magazine. Paul’s Book expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress.24 x 31 cm, quarter-bound hardback