Rodeo Drive, 1984 is a series of 41 images of shoppers on Beverly Hills' infamous shopping highway. The subjects appear caught unaware, glancing up as they walk, or daydreaming as they wait to be served in its commercial landscape of shops and restaurants. Anthony Hernandez poses as a dispassionate observer, recording the big hair, wide shoulders and cinched waists of the 1980's in sunlit photographs.

Shane Morgan's world is shattered when his mother is killed in a car accident. His father and hero, a famous rodeo star, drowns his sorrow in booze and soon is just a rodeo clown with a drinking problem. Then the two inherit a small ranch, and Shane looks forward to having a real home, making friends, and getting through a whole school year in the same place. But things don't go well at school or at home. In fact, Shane and his father seem to be growing further and further apart. Will his father ever change? Will things ever be different?

Philip Perkis is one of the most widely respected American photographers, yet his work is little known outside of professional circles.

This open access book describes the three planning approaches and legacy impacts for the Olympic Games in one locale: the city of Los Angeles, USA. The author critically compares the similarities and differences of the LA Olympics by reviewing the 1932 and 1984 Olympics and by analyzing the concurrent planning process for the 2028 Olympics. The author unravels the conditions that make (or do not make) LA28’s argument “we have staged the Games before, we can do it again” compelling. Setting the bid’s promises into the contemporary local and global mega-event contexts, the author analyzes why LA won the bids, how those wins allowed LA to negotiate concessions with the IOC and NOC, and how legacies were planned, executed, and ultimately evolved. The author concludes with a prediction which 2028 legacy promises might and might not be fulfilled given the local and international Olympic contexts.

Maude Schuyler Clay started her color portrait series Mississippi History in 1975 when she acquired her first Rolleiflex Twin Lens Reflex camera. At the time, she was living and working in New York and paying frequent visits to her native Mississippi Delta, whose landscape and people continued to inspire her. Over the next 25 years, the project, which began as The Mississippians, evolved in part as an homage to Julia Margaret Cameron, a definitive pioneer of the art of photography. Cameron lived in Victorian England and began her photographic experiments in 1863. Clay's expressive, allegorical portraits of her friends, family and other Mississippians, as well as her artful approach to capturing the essence of light, are the driving forces behind her recollection of moments of family life in Mississippi in the 1980s and 90s.

The first cultural history of the iconic brand M·A·C Cosmetics, VIVA M·A·C charts the evolution of M·A·C’s revolutionary corporate philanthropy around HIV/AIDS awareness. Drawing upon exclusive interviews with M·A·C co-founder Frank Toskan, key journalists, and fashion insiders, Andrea Benoit tells the fascinating story of how M·A·C's unique style of corporate social responsibility emerged from specific cultural practices, rather than being part of a strategic marketing plan. Benoit delves into the history of the M·A·C AIDS Fund and its signature VIVA GLAM fundraising lipstick, which featured drag performer RuPaul and singer k.d. lang in its first advertising campaigns. This lively chronicle reveals how M·A·C managed to not only defy the stigma associated with AIDS that alarmed many other corporations, but to engage in highly successful AIDS advocacy while maintaining its creative and fashionable authority.