What does it mean to be an American? What are American ideas and values? American Enterprise, the companion book to a major exhibition at the Smithsonian’s National Museum of American History, aims to answer these questions about the American experience through an exploration of its economic and commercial history. It argues that by looking at the intersection of capitalism and democracy, we can see where we as a nation have come from and where we might be going in the future. Richly illustrated with images of objects from the museum’s collections, American Enterprise includes a 1794 dollar coin, Alexander Graham Bell’s 1876 telephone, a brass cash register from Marshall Fields, Sam Walton’s cap, and many other goods and services that have shaped American culture. Historical and contemporary advertisements are also featured, emphasizing the evolution of the relationship between producers and consumers over time. Interspersed in the historical narrative are essays from today’s industry leaders—including Sheila Bair, Adam Davidson, Bill Ford, Sally Greenberg, Fisk Johnson, Hank Paulson, Richard Trumka, and Pat Woertz—that pose provocative questions about the state of contemporary American business and society. American Enterprise is a multi-faceted survey of the nation’s business heritage and corresponding social effects that is fundamental to an understanding of the lives of the American people, the history of the United States, and the nation’s role in global affairs.

Argues that the Obama administration has used the economic crises to move away from free enterprise and offers a way back via sound public policy.

A leading conservative intellectual argues that to renew America we must recommit to our institutions Americans are living through a social crisis. Our politics is polarized and bitterly divided. Culture wars rage on campus, in the media, social media, and other arenas of our common life. And for too many Americans, alienation can descend into despair, weakening families and communities and even driving an explosion of opioid abuse. Left and right alike have responded with populist anger at our institutions, and use only metaphors of destruction to describe the path forward: cleaning house, draining swamps. But, as Yuval Levin argues, this is a misguided prescription, rooted in a defective diagnosis. The social crisis we confront is defined not by an oppressive presence but by a debilitating absence of the forces that unite us and militate against alienation. As Levin argues, now is not a time to tear down, but rather to build and rebuild by committing ourselves to the institutions around us. From the military to churches, from families to schools, these institutions provide the forms and structures we need to be free. By taking concrete steps to help them be more trustworthy, we can renew the ties that bind Americans to one another.

An informed argument for an economic policy based on bridges of preparation and adaptation rather than walls of protection and exclusion "When technological change and globalization in recent decades brought frustration over the resulting losses to jobs and communities, there were no guardrails to get these workers back on track. As this compelling book shows, our nation is going to need bridges to help people get through the unavoidable transformations."--Edmund Phelps, 2006 Nobel Laureate in Economics and author of Mass Flourishing Free-market economists often have noted that there are winners and losers in a competitive capitalist world. The question of how to deal with the difficult real-life consequences faced by the losers, however, has largely been ignored. Populist politicians have tried repeatedly to address the issue by creating walls--of both the physical and economic kinds--to insulate communities and keep competition at bay. While recognizing the broad emotional appeal of walls, economist Glenn Hubbard argues that because they delay needed adaptations to the ever-changing world, walls are essentially backward-looking and ultimately destined to fail. Taking Adam Smith's logic to Youngstown, Ohio, as a case study in economic disruption, Hubbard promotes the benefits of an open economy and creating bridges to support people in turbulent times so that they remain engaged and prepared to participate in, and reap the rewards of, a new economic landscape.

This is an edited volume reviewing the major means-tested social programs in the United States. Each author addresses a major program or area, reviewing each area’s successes and recommending how to address shortcomings through policy change. In general, our means-tested programs do many things well, but some adjustments to each could make the system much more effective. This book provides policymakers with a broad overview of the issues at hand in each program and how to address them.

In 1933 choreographer George Balanchine and impresario Lincoln Kirstein embarked on an elusive quest to found a ballet company and school in the United States. Though their efforts would eventually result in the creation of the New York City Ballet and the School of American Ballet, the first decade of their collaborative efforts was anything but assured. Tracing the tangled histories of two of the most important figures in twentieth-century dance, Balanchine and Kirstein's American Enterprise offers a fresh perspective on a pivotal period in cultural history. Deeply researched using sources only made available in recent years, the book challenges the mythologies surrounding the early years of the Balanchine-Kirstein enterprise. It also reveals the full extent of Kirstein's essential role and offers reconstructive analysis of lost works, as well as new and surprising details regarding some of Balanchine's most iconic ballets, including Serenade, Apollo, and Concerto Barocco. This history involved artists including Richard Rodgers, Martha Graham, George Gershwin, Katherine Dunham, Vera Zorina, and Igor Stravinsky, as well as dozens of lesser known players whose contributions have yet to be fully acknowledged. Capturing the full sweep of Balanchine and Kirstein's collaborative work across multiple genres and institutions, this book reveals their partnership in all of its exciting and ungainly complexity, showing how the 1930s Balanchine was not the artist that he would eventually become, and how the same was true of the institutions that he and Kirstein jointly created.