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The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life
Product Type: Book
Product Price: $16.95
Manufacturer: Basic Books
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Description
The national bestseller that defines a new economic class and shows how it is key to the future of our cities.
The Washington Monthly 2002 Annual Political Book Award Winner
The Rise of the Creative Class gives us a provocative new way to think about why we live as we do today-and where we might be headed. Weaving storytelling with masses of new and updated research, Richard Florida traces the fundamental theme that runs through a host of seemingly unrelated changes in American society: the growing role of creativity in our economy.
Just as William Whyte's 1956 classic The Organization Man showed how the organizational ethos of that age permeated every aspect of life, Florida describes a society in which the creative ethos is increasingly dominant. Millions of us are beginning to work and live much as creative types like artists and scientists always have-with the result that our values and tastes, our personal relationships, our choices of where to live, and even our sense and use of time are changing. Leading the shift are the nearly 38 million Americans in many diverse fields who create for a living--the Creative Class.
The Rise of the Creative Class chronicles the ongoing sea of change in people's choices and attitudes, and shows not only what's happening but also how it stems from a fundamental economic change. The Creative Class now comprises more than thirty percent of the entire workforce. Their choices have already had a huge economic impact. In the future they will determine how the workplace is organized, what companies will prosper or go bankrupt, and even which cities will thrive or wither.
Reviews
Rating: 3 / 5
Date: 2010-08-20
Summary: "Queering the Economy"
Florida has some insights on how the economy works. He thinks that creative cities offer the most lifestyle choices for everyone and have the best economies because of diversity. Having an attractive economy requires a city to be open- minded and tolerant of new ideas, new people, eccentrics, and gays. That is why San Francisco and Austin are on the top of list for being the cities with a creative economy. Creative types like to live in an "anything goes" atmosphere. Florida also claims that creative cities are also the most family friendly, although I do not know what his criteria for family friendly is.
Looking through his list, I saw that some cities like Des Moines and Boise are creative without necessarily being diverse. They are college towns though. He admits that creative cities tend to be whiter; lending me to believe that creativity is genetically based and not culturally based. He may be claiming a cause out mere correlation when he states that diversity is inextricably linked with creativity. He contradicts himself in his desire to be politically correct, which is annoying. IQ and the Wealth of Nations better explains why some areas have vibrant economies or not. Although California is hot spot for creative economies, I've noticed that its population has a low standard of education as it becomes more Latino. Whether it remains a top economy is still in question. Maybe they can still import the best and brightest from out of state. Now that the economy is down in diverse places like California, it is rock solid in more "sterile" white places such as North Dakota. Taxes and uncontrolled spending has doomed California with all its politically correct liberals in power.
His observations are obvious in that it has been known that the cities are more liberal and innovative than rural places or smaller cities. Even if laggard metros such as Pittsburgh get hip and build a bohemian night spot, I doubt they will surpass the attractiveness of such renowned cities as San Francisco, New York, or Los Angeles. Not everyone likes such cities though.
Florida talks about creative workers and their work problems. They seem a little narcissistic in their demands about having a hip scene to express themselves in. They make more money than those of us stuck in dead end jobs of the working and service class.
Florida does not mention the dark side of diversity such as increases in crime and lack of trust. He prefers a community of loose ties even though this may lead to loneliness and alienation. The creative class is so busy with their careers they may not reproduce themselves enough to ensure a creative economy in the future.
Florida is for open borders. He assumes that creativity is linked to diversity. I would rather think that the less white America becomes the more poor its economy will be. These new ethnic groups are not necessarily known for their creativity, tolerance, individuality, or intelligence. Employers use foreign labor to keep labor costs down, not to increase diversity or creativity. Or they outsource the high tech jobs to foreign countries to save money if they can. Many Americans no longer go into IT fields because employers do not want to hire uppity Americans who expect high salaries and decent treatment.
This is good book for techies to find out where the creative cities are. If you are service or working class, it may not do any good to move to a more creative city. A creative, cool, sexy city has more competition, so you better be good at what you do.
Rating: 4 / 5
Date: 2010-04-12
Summary: "A must for sociologists and communicators."
An insightful annalisis of modern society. Reveals endless business posibilities from an entirely new perspective.
Rating: 1 / 5
Date: 2010-04-04
Summary: "This book makes it 1999 all over again"
The fundamental problem with his theory is that he has the cause-effect relationship exactly backwards.
Yes, Austin, Portland and the rest have active "creative" communities and many thrive on their own versions of "Keep Austin Weird". However, his book completely misses the fundamental point that those people didn't move there completely based on lifestyle-- They moved there due to big anchors: universities and good-paying employers.
Where do you really think Portland would rank were it not for 50 years of companies like Tektronix, Intel, Mentor Graphics, HP? Those employers attracted smart, creative people to come work there and they stayed. As Florida's own website today acknowledges, those "creative class" communities have suffered harder than his models suggest they should have-- because those same anchor employers have been hard-hit.
This book wouldn't be that dangerous, but for the fact that struggling communities are likely to embrace these cargo-cult-science theories-of-the-moment, rather than the fundamentals that most workers want: good jobs, safe environment, quality of life.
Rating: 3 / 5
Date: 2010-03-10
Summary: "The Rise of the Academic Class"
Like most books out of modern academia, this is 352 pages of a 120 page book. Richard Florida runs out of ideas about 1/4 of the way through his treatis and keeps going as if adding words will equate to additional information.
Like a lot of academic "experts," Florida totally missed where the economy was going. In 2003, "ideas, information, and invention" probably looked promising, if you didn't see the underlying fault in that concept: nobody "needs" to buy ideas when 6 billion people are still buying things. The world of phoney ideas (subprime mortages and the associated paper) has taken a hit and will continue to take hits until it bankrupts the United States and any country foolish enough to believe "a sucker born every minute" is a business philosophy.
Without a functioning education system, Florida's "creative class" has no fuel to extend itself. It's a wonderful dream, but a grossly optimistic philosophy. "A pessimist is an optimist with experience."
Rating: 3 / 5
Date: 2010-01-15
Summary: "An insightful book, but awkward at times"
At times I felt I was forcing myself to work through some of Florida's reasonings. I agree with his views on diversity and the positive impact it has on society in terms of stimulating creativity. I also agree with his perception of two Americas, perhaps even with his idea of one America embodying 'creative class' ideals and appearances while the other remains inept to change whether it be creative, social, or whatever.
My big problem with Florida's work, was his confusing stance on social cohesion. Most of what he said, to me, sounded critical. I got the idea that he is not for the reaffirmation of social values in society. My qualm isn't rooted in my disagreement with him on this issue, it is with the fact that towards the end of his chapter on social capitol/cohesion, I got the distinct feeling that his stance straddled the pro and con sides of whether or not America should move back to fortifying itself socially.
Overall, I would recommend this book for someone looking for a way to study modern urban theory, but this book is best read critically. For me, it served the purpose of really getting to know my own beliefs on many issues facing us in this increasingly urban world. Sometimes I disagreed adamantly, other times my feelings were tepid, and other times I felt that Florida's words echoed my own sentiments. Read this book thinking.