Reactionaries and Fascism - 1Edward R. Tannenbaum: The Action Francaise, Die-hard Reactionaries in Twentieth-Century France. (New York: John Wiley & Sons, 1962. Pp. viii, 316. $7.50.) - 2Eugen Weber: Action Francaise, Royalism and Reaction in Twentieth-Century France.(Stanford: Stanford University Press, 1962. Pp. xi, 594. $10.00.)

1963 ◽  
Vol 25 (4) ◽  
pp. 575-577
Author(s):  
George L. Mosse
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Stanford University

State, Violence, and Security in Mexico

2014 ◽  
Vol 30 (1) ◽  
pp. 241-255 ◽  
Author(s):  
Carlos Solar
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Organized Crime ◽  
State Violence ◽  
Public Security ◽  
Stanford University ◽  
Drug War ◽  
Criminal Violence ◽  
State Responses

Paul Kenny, Mónica Serrano with Arturo Sotomayor, eds., Mexico's Security Failure, Collapse into Criminal Violence (New York: Routledge, 2012). Wil G. Pansters, ed., Violence, Coercion, and State-Making in Twentieth-Century Mexico (Stanford: Stanford University Press, 2012). George Philip and Susana Berruecos, eds., Mexico's Struggle for Public Security: Organized Crime and State Responses (New York: Palgrave Macmillan, 2012). Peter Watt and Roberto Zepeda, Drug War Mexico: Politics, Neoliberalism and Violence in the New Narcoeconomy (London and New York: Zed, 2012).

Shaping Jazz

2013 ◽  
Author(s):  
Damon J. Phillips
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Recording Industry ◽  
Early Twentieth Century ◽  
Art Form ◽  
Long Run

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs—and not others—get re-recorded by many musicians? This book answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets—in particular, organizations and geography—in the development of early twentieth-century jazz. The book considers why places like New York played more important roles as engines of diffusion than as the sources of standards. It demonstrates why and when certain geographical references in tune and group titles were considered more desirable. It also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. The book shows the key influences of firms in the recording industry, including how record labels and their executives affected what music was recorded, and why major companies would re-release recordings under artistic pseudonyms. It indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, the book offers a unique look at the origins of a groundbreaking art form.

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