The story of rock lives in Lynn Goldsmith’s photographs. After coming of age in the Midwest in the tumultuous 1960s, she crashed the music scene in New York and emerged as one of its leading image-makers. She chronicled Bruce Springsteen’s passage to glory, the Rolling Stones’ legendary stadium tours, Michael Jackson’s staggering ascent, U2’s arrival in New York, and the brooding force of Bob Marley. Culture heroes like Bob Dylan and Patti Smith became frequent subjects for her lens. The range of her work is staggering. In Rock and Roll Stories, she shares the best of this work. Her commentary takes the reader into the studio, the tour bus, the concert hall, and the streets where the pictures were made, offering revealing perspectives on her subjects and herself. A greatly expanded and newly designed edition of her very successful book PhotoDiary (1995), this volume captures the story of a generation’s loyalty to rock and roll.

An original examination of the ubiquity of glitter—from bodily adornment to activist glitter bombing—and its vibrant and transformational properties. Glitter is everywhere, from crafting to makeup, from vagazelling to glitter-bombing, from fashion to fish. Glitter also gets everywhere. It sticks to what it is and isn't supposed to, and travels beyond its original uses, eliciting reactions ranging from delight to irritation. In Glitterworlds, Rebecca Coleman examines this ubiquity of glitter, following it as it moves across different popular cultural worlds and exploring its effect on understandings and experiences of gender, sexuality, class and race. Coleman investigates how girls engage with glitter in collaging workshops to imagine their futures; how glitter can adorn the outside and the inside of the body; how glitter features in the films Glitter and Precious; and how LGBTQ* activists glitter bomb homophobic and transphobic people. Throughout, Coleman attends to the plurality of politics that glitter generates, approaching this through the concepts of hope, wonder, fabulation, and prefigurative politics—all of which indicate the making of different, better worlds, although often not in ways that are straightforward or conventional. She develops an original account of future politics, where time is nonlinear and sometimes non-progressive. Coleman's argument brings together feminist cultural theory, feminist new materialisms, and theories on futures and temporality, in order to propose that we should understand glitter as a thing—vibrant, processual, transformational, and traversing boundaries between media and material, culture and nature, bodies and environments.