New piece in Belt Magazine:
When Richard Florida’s new book came out earlier this year, I saw some of the reviews and was intrigued. It was called The New Urban Crisis: How Our Cities Are Increasing Inequality, Deepening Segregation, and Failing the Middle Class — and What We Can Do About It. I was interested in the subject. After the 2016 election, who wasn’t?
My interest, however, ran a little deeper than most. Some reviews billed it as Florida’s “mea culpa,” or his “act of penance” for his 2002 book, The Rise of the Creative Class, in which he argued that young, creative workers were the new engines of economic growth and that cities needed to court them in order to prosper. In the beginning, everybody wanted to believe in this “Creative Class” theory. And for a while, so did I. But by 2012 I had serious doubts, and I wrote a critique of Florida’s theory that went viral. Five years later, with the publication of his new book, I wondered if Florida had finally taken my critique to heart.
I didn’t always feel that way. When I first came across Florida’s theory, I myself was a young, creative worker, and I loved the idea that people like myself were economically significant, and that by simply moving to a city we would cause it to flourish. Not long after The Rise of the Creative Class was published, my wife and I moved to Madison, Wisconsin. According to Florida, the city needed us and somehow we were the keys to its future. Yet as a freelance writer, subject to the extreme ebb and flow of income (mostly ebb), I often found myself biking around town, too broke to even afford a cup of coffee. At these times, I wondered: How exactly was I fueling Madison’s economy?
See also:
The Fall of the Creative Class
Still Falling: On Chickens and Eggs, Cause and Effect and the Real Problem with the Creative Class
Frank Bures 