Is Richard Florida, author (“The Rise of the Creative Class”), professor and guru of the Creative Class philosophy, just another Harold Hill selling bohemian coffee shops and brew pubs, instead of band instruments to gullible townspeople?
An article in the American Prospect, “The Ruse of the Creative Class,” by Washington Post writer Alec MacGillis inches up to that conclusion – without completely landing it. But MacGillis point to the huge number of cities such as Elmira, N.Y., and Cleveland, that embraced Florida’s theories – some of them paying rather a lot of money to his consulting firm – but haven’t yet found creative class nirvana.
MacGillis writes, “… by some measures, yuppie idylls like San Francisco and Boston have lagged behind unhip, low-tax bastions like Houston and Charlotte, North Carolina.”
Ouch! Unhip? Us? (And I know plenty of people are yelping, “low-tax”??!!!)
The lengthy article is nuanced and points out many complexities, and quotes Florida at length answering his critics. I recommend reading it – before you come to any knee-jerk decision on whether you do or don’t agree with it, or with Florida.
That said, my take on Florida’s theories goes roughly like this: He pinpoints something that has been important in some cities, but there’s no silver bullet that will solve what ails many cities. If a city attracts more artists and creative types, it generally prospers. But simply declaring one’s city to be “creative” doesn’t make it so, nor does paying a consultant to come tell you you should be creative. (Charlotte tried that a while back. I don’t think we’re any more or less creative than we would have been. We’re bigger now, so we have higher numbers of “creatives” but I’m pretty sure that was a result of growth, not any study for which anyone got paid.) Cities are organic and develop in organic ways that are hard to manage and predict.