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\"In this book, Tyler Cowen argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty - and how it could result in even more and better.\" \"Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental - but decidedly not laissez-faire - system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Good and Plenty is essential reading for anyone concerned about the arts or their funding.\"--Jacket.

This book looks at the changing role and nature of the regulation of State intervention in the liberalised and privatised markets of the European Union. It examines how the traditional role of the State is now challenged by European Union law, and the implications for traditional public services provided by the State. For the first time in an academic work, the book brings together the interaction of the Internal Market and the Competition rules of the European Union when they are applied to State economic activity. Individual chapters examine specific rules which address squarely the permissible role of State activity in competitive markets, for example an examination of the State aid rules, the rules in Article 86 EC regulating State monopolies and the controversial application of Articles 81 and 82 EC to the State. Other chapters examine the processes of privatisation and liberalisation with case studies on the postal sector, utilities and telecommunications.

Americans agree about government arts funding in the way the women in the old joke agree about the food at the wedding: it's terrible--and such small portions! Americans typically either want to abolish the National Endowment for the Arts, or they believe that public arts funding should be dramatically increased because the arts cannot survive in the free market. It would take a lover of the arts who is also a libertarian economist to bridge such a gap. Enter Tyler Cowen. In this book he argues why the U.S. way of funding the arts, while largely indirect, results not in the terrible and the small but in Good and Plenty--and how it could result in even more and better. Few would deny that America produces and consumes art of a quantity and quality comparable to that of any country. But is this despite or because of America's meager direct funding of the arts relative to European countries? Overturning the conventional wisdom of this question, Cowen argues that American art thrives through an ingenious combination of small direct subsidies and immense indirect subsidies such as copyright law and tax policies that encourage nonprofits and charitable giving. This decentralized and even somewhat accidental--but decidedly not laissez-faire--system results in arts that are arguably more creative, diverse, abundant, and politically unencumbered than that of Europe. Bringing serious attention to the neglected issue of the American way of funding the arts, Good and Plenty is essential reading for anyone concerned about the arts or their funding.

Since the demise of urban renewal in the early 1970s, the politics of large-scale public investment in and around major American cities has received little scholarly attention. In MEGA-PROJECTS, Alan Altshuler and David Luberoff analyze the unprecedented wave of large-scale (mega-) public investments that occurred in American cities during the 1950s and 1960s; the social upheavals they triggered, which derailed large numbers of projects during the late 1960s and early 1970s; and the political impulses that have shaped a new generation of urban mega-projects in the decades since. They also appraise the most important consequences of policy shifts over this half-century and draw out common themes from the rich variety of programmatic and project developments that they chronicle. The authors integrate narratives of national as well as state and local policymaking, and of mobilization by (mainly local) project advocates, with a profound examination of how well leading theories of urban politics explain the observed realities. The specific cases they analyze include a wide mix of transportation and downtown revitalization projects, drawn from numerous regions-most notably Boston, Denver, Los Angeles, New York City, Chicago, Atlanta, Dallas, Portland, and Seattle. While their original research focuses on highway, airport, and rail transit programs and projects, they draw as well on the work of others to analyze the politics of public investment in urban renewal, downtown retailing, convention centers, and professional sports facilities. In comparing their findings with leading theories of urban and American politics, Altshuler and Luberoff arrive at some surprising findings about which perform best and also reveal some important gaps in the literature as a whole. In a concluding chapter, they examine the potential effects of new fiscal pressures, business mobilization to relax environmental constraints, and security concerns in the wake of September 11. And they make clear their own views about how best to achieve a balance between developmental, environmental, and democratic values in public investment decisionmaking. Integrating fifty years of urban development history with leading theories of urban and American politics, MEGA-PROJECTS provides significant new insights into urban and intergovernmental politics.