Richard Florida is author of the global best-sellers, The Rise of the Creative Class and Who’s Your City? A more recent book, book, The Great Reset, explains how new ways of living and working will drive post-crash prosperity. Other works include The Flight of the Creative Class and Cities and the Creative Class. His previous books, especially The Breakthrough Illusion and Beyond Mass Production, paved the way for his provocative looks at how creativity is revolutionizing the global economy.
Richard is senior editor for The Atlantic and a regular CNN contributor. He has written for The New York Times, The Wall Street Journal, The Washington Post, The Boston Globe, The Economist, The Globe and Mail and The Harvard Business Review. He has been featured as an expert on MSNBC, BBC, NPR and CBS, to name just a few. Richard is Director of the Martin Prosperity Institute and Professor of Business and Creativity at the Rotman School of Management, University of Toronto. Previously, Florida held professorships at George Mason University and Carnegie Mellon University and taught as a visiting professor at Harvard and MIT. Florida earned his Bachelor’s degree from Rutgers University and his Ph.D. from Columbia University. His research provides unique, data-driven insight into the social, economic and demographic factors that drive the 21st century world economy.
His latest book is The Rise of the Creative Class, Revisited: 10th Anniversary Edition–Revised and Expanded, published by Basic Books (June, 2012).
Here is an excerpt from my second interview of him.
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Morris: To what extent is The Rise of the Creative Class, Revisited a sequel? To what extent does it plow entirely new ground?
Florida: A great deal of the book has been rewritten or rearranged—this is not so much a revision as a full-blown revisiting of the original book. My team and I brought all the statistics up to date, provided new ones, and incorporated a decade’s worth of new research. I took advantage of the opportunity to address my major critics, too. Finally, there are five completely original chapters, covering the global effects of the Creative Class, quality of place in our cities and suburbs, the widening—and increasingly damaging—role of class and inequality in society, and the political challenges and opportunities that the rise of the creative class represents.
Morris: Were there any head-snapping revelations while writing the book? Please explain.
Florida: One big insight is the worsening inequality and underlying class divide that plagues not just nations but cities and metro areas. You can see it in US cities and metros and also in London and even in Toronto where I now live. That said, the rise of the creative class and post-industrialism needn’t exacerbate wage and income inequality. In fact, the wages and salaries for working and service class members are higher in metros with greater concentrations of the creative class. Interestingly enough, the US is something of an outlier when it comes to post-industrialism and inequality across the advanced nations. In many of them, especially in Scandinavia and North Europe, post-industrialism and the rise of the creative economy has been accompanied by higher living standards and far less inequality that in the US. In the revised edition, I look in detail at inequality across US metros. I find that the class divide accounts for about 15 percent of income inequality, a significant amount for sure, but more is at work. Income inequality across US metros has a lot to do with entrenched poverty, race, weakened labor unions, and an unraveling safety net than it is the result of the Creative Class’s relative prosperity. The solution, in other words, isn’t to roll the Creative Class back—it’s to lift up the classes that aren’t doing as well.
Morris: To what extent (if any) does the book in final form differ significantly from what you originally envisioned?
Florida: Books always turn out different than expected. When I started the idea was to update the data (which was ten years old) and revise and update the existing chapters. But that’s where my research and thinking took me. I certainly did not expect to write five entirely new chapters The whole issue of the creative class going global and the need to include more data and information on the creative class around the world; and also widening inequality and the growing class divide – those are things that needed to be treated in detail. The last chapter – “Every Single Human Being is Creative”— discusses the need for a new Creative Compact based on harnessing the creativity and talent of every single human being. We are at such a critical turning point: our society is changing as fundamentally as it has since the shift from agriculture to manufacturing. The old industrial order of relentless production and consumerism, of brute growth, has proven itself unsustainable; it’s left us with a degraded environment, a broken financial system, and a sclerotic political culture. We have an incredible opportunity to remake ourselves in a better way—for maybe the first time ever, to align human and economic development. But to do that, we need to create new institutions that will both help to develop and utilize everyone’s innate creativity. It won’t happen by itself, and no Invisible Hand is going to guide it.
The University of Chicago economist Raghu Rajan said it well: “The advanced countries have a choice. They can act as if all is well except that their consumers are in a funk, and that ‘animal spirits’ must be revived through stimulus. Or they can treat the crisis as a wake-up call to fix all that has been papered over in the last few decades.” I’m trying to sound that wake up call.
Morris: Please explain the reference to “the key underlying forces that have been transforming our economy and culture” for several decades.
Florida: Our economy is shifting from an industrial to a post-industrial basis—our most valuable products are no longer the natural resources we scour out of the ground, or the durable goods that we manufacture in factories but the things that spring from our creativity: software, movies, medicines, applications. Human beings have always been creative, of course, but now creativity itself—“the ability to create meaningful new forms,” as Webster’s Dictionary has it—is what powers our economy.
As creativity has become more fundamental, it’s given rise to a whole new social class that works in creative fields (the sciences, education, medicine, technology, media, the arts). Many of them have embraced a new ethos and a new set of meritocratic norms that in turn have shifted our whole society.
If anything Creativity is an even more powerfully transformative force than it was a decade ago. The Creative Class has come through the last decade—and through the economic crash of 2008—stronger and more influential than ever.
Morris: In your opinion, why have we not as yet unleashed “that great reservoir of overlooked and underutilized human potential”?
Florida: If a third of our most fortunate workers belong to the Creative Class, the other two great classes are not faring anywhere near as well. The working class, our blue collar sector, has lost a third of its members in just the last decade—it represents just 20 percent of the workforce today, about the same share that farmers held at the turn of the last century (they are less than one percent of the economy today). About half of the workforce belongs to the Service Class—the people who serve our food, cut our lawns and our fingernails, take care of our elderly. Most of them are paid terribly and there are very few opportunities for advancement.
Class and geography have a huge impact on your destiny in the US—if your parents don’t have good jobs and good educations and you live in a state that has a smaller Creative Class share, the odds are that you’ll be poorer, travel less, and receive a worse education than your peers in more creative states. That’s not snobbery or elitism—that’s just statistics. Poorer states have shorter life expectancies too—there is more smoking and obesity, more gun violence, and worse health outcomes across the board.
This is why I’m so passionate about the need for change—for a new Creative Compact, as I put it, that will do for our own epoch what the New Deal did for its own generation.
Morris: What are the defining characteristics of the Creative Class?
Florida: I define the Creative Class by what people do—by the kinds of jobs they hold. What I call the Super-Creative Core of the Creative Class are scientists and engineers, university professors, poets and novelists, artists, entertainers, actors, designers, and architects, as well as the thought leadership of modern society: nonfiction writers, editors, cultural figures, think-tank researchers, analysts, and other opinion shapers. I define the highest order of creative work as the production of new forms or designs that are readily transferable and widely useful—such as designing a consumer product, coming up with a theorem or strategy that can be applied in many situations, or composing music that can be performed again and again.
The Creative Class doesn’t just solve problems—it finds problems that we didn’t know we had. It invents the iPod and then it figures out a better way to organize its music library—and to combine it with a telephone, and an e-book reader while giving its battery longer life.
Beyond this core group, the Creative Class also includes “creative professionals” who work in a wide range of knowledge-intensive industries, such as high-tech, financial services, the legal and health professions, and business management, who engage in creative problem solving. Creative Class people are smart and skilled; they’re often (but not always) highly educated. Three quarters of degree holders belong to the Creative Class, but less than 60 percent of the Creative Class has degrees.
I talk a lot about “creatifying” jobs that are not considered Creative Class, but could be, such as retail sales. With the addition of creativity such jobs can become more productive and earn higher and higher salaries. Services can be creatified too, as their providers become more entrepreneurial.
Richard cordially invites you to check out the resources at these websites:
To read the complete second interview, please click here.
To read my first interview of him, please click here.
To read my review of his latest book, The Rise of the Creative Class, Revisited: 10th Anniversary Edition, please click here.
Here you go – this is my list of the Best of 2011 in a number of categories.
Best Business Book: The 3rd Alternative by Stephen Covey (New York: Free Press) – this book explains and promotes a tired “win-win” philosophy in a fresh way, opening up applications in multiple contexts for many people who give lip service to the concept likely have never thought of before. It didn’t stay on the best-seller lists long enough.
Best Non-Fiction Book: The Greater Journey: Americans in Paris by David McCullough (New York: Simon & Schuster) – I didn’t think he could ever top the biography he wrote called Truman, but this is a highly readable, novel-like approach of an important segment of American history, as played out overseas.
A close second: Jack Kennedy: Elusive Hero by Chris Matthews (New York: Simon & Schuster) – I’ve read a lot of books about JFK, and many a lot longer than this one, but I have never learned so much as I did with this account. Lots of inside information from an outside perspective by this MSNBC giant.
Best Fiction Book: 11-22-63 by Stephen King (New York: Scribner) – A fantasy about a high school teacher who travels back in time, attempting to change history, with the first stop in 1958. Quite a story! The picture of the author on the inside cover makes him look so intense!
Best Movie: Shame starring Michael Fassbender and Carey Mulligan. directed by Steve McQueen (Fox Searchlight films) - this is not entertaining, and a very difficult movie to watch, but it demonstrates the challenges that 3-5 million Americans with sex addictions face better than any documentary ever has or could.
Best Sporting News: Paterno and Penn State Fall – this is not a happy story, but time unravels strange tales, and a giant in a successful program faces the music, and we cannot ignore it; at the Ticket City Bowl on Monday, I saw two t-shirts: one said, “Joe Knows Football,” and another, “What Does Joe Know?“ Unfortunately, with his diminishing physical condition, we may never find out.
Best Entertainer: Taylor Swift – a 22-year old captivates audiences and the music world with original songs from the heart, and she bonds with her listeners of all ages at concerts in ways that we have not seen since the Beatles; the song Story of Us will resonate with many people who have had heartbreaking relationships
Best Television Program: Friday Night Lights – when its final episode aired this spring, I realized how good it was, and how much I will miss it; if you never saw it, purchase the series on DVD’s.
Best News Story: Japanese Earthquake and Tsunami in May – riveting images of horror and sorrow followed by amazing stories of international and personal help and relief show the greatest contrast in bad and good that you could ask to see, and there still remains a lot of work to do.
What do you think? Let’s talk about it.
“I believe that any problem can be solved with a picture. And that anybody can draw it.”
Dan Roam is the author of two international bestsellers, The Back of the Napkin: Solving Problems and Selling Ideas with Pictures and Unfolding the Napkin: The Hands-On Method for Solving Complex Problems with Simple Pictures, both published by Portfolio Trade, a Penguin imprint. The former was selected as Business Week and Fast Company’s best innovation book of the year, and was Amazon’s #5 selling business book of 2008. The Back of the Napkin has been published in 25 languages and is a bestseller in Japan, South Korea, and China. Portfolio also published his latest book, Blah Blah Blah: What To Do When Words Don’t Work (November, 2011) Roam has helped leaders at Microsoft, eBay, Google, Wal-Mart, Boeing, Lucas Fims, Gap, Kraft, Stanford University, The MIT Sloan School of Management, the US Navy, and the United States Senate solve complex problems through visual thinking. Dan and his whiteboard have appeared on CBS, CNN, MSNBC, ABC News, Fox News, and NPR. His visual explanation of American health care was selected by BusinessWeek as “The World’s Best Presentation of 2009″. This inspired the White House Office of Communications to invite him in for a discussion on visual problem solving.
Here is an excerpt from my second interview of Dan. To read the complete interview, please click here.
Morris: Before discussing Blah Blah Blah, a few general questions. First, for those who have not as yet read one or both of the “napkin” books, please explain why using relatively simple drawings can have great impact when we attempt to answer a question, solve a problem, persuade others to agree, or to express the essence of an important concept.
Roam: When we see an idea clearly illustrated right in front of us, much more of our mind lights up than if we were just talking about it. With simple and clear pictures, we see more, understand more, and share more than words alone ever could. As humans, we are essentially walking, talking “vision” machines. Three-quarters of all the sensory neurons in our brain are dedicated to processing vision, and in the first four months after we’re born almost all brain development in takes place in those areas that process vision and movement.
From the time we are infants, we know how important sight is to understanding the world around us and guiding us safely through it. What is a shame is how quickly we forget that once we enter school. We spend years perfecting the tools of spoken but we don’t spend two days learning to understand how we SEE. The essential point is this: if we really want someone to understand what we’re talking about, we should actually talk less – and draw more.
Morris: The hieroglyphics on cave walls pre-date the earliest attempts at a verbal language. So the insights you share in the two Napkin books have been common knowledge for at least several million years?
Roam: The oldest drawings ever found are located deep in the Chauvet Cave in south-central France. These paintings of horses, bison, and bulls date back 32,000 years. In the entire sweep of recorded human history, these beautiful images represent the beginning of the “whoosh.” We don’t know anything about the early humans that created these images, but we do know they could draw extremely well. These are the earliest markings ever made by humanity, and they are sketched more wonderfully than most of us could do today.
Morris: Relatively simple drawings can be a great resource for brain storming sessions because almost anyone can draw without possessing highly-developed drawing skills. However, what Tom Kelley characterizes as “ideation” [begin italics] does [end italics] require them. Don’t people have to have something worth communicating, first?
Roam: We all have ideas we believe are worth communicating, and we have them all the time – which is precisely why so many of us talk so much. Those ideas may not be fully developed, we may be uncertain of them, and they may be complex or controversial, but we typically have no shortage of them. And that is why drawing them out – even in the most crude circles-boxes-and-arrows manner – is such a great idea. Drawing out our thoughts forces us to clarify them, look at them from multiple perspectives, and think them through in a vibrant way.
Morris: Since the publication of the two Napkin books, presumably you have received a blizzard of feedback from those who read one or both of them. Of all that you have learned from what your readers have shared, what do you consider to be most valuable? Why?
Roam: I have received thousands of comments from readers over the past three years. The most frequent involve a reader sharing a moment of pictorial discovery, either in a meeting that was saved when someone went up to the whiteboard and drew the idea that clarified everything, or when they completed a difficult sale by drawing out the solution for all to see. Without a doubt, I have learned the most from readers who had never drawn and, thanks to my books, decided to give it a try. The sense of discovery and enthusiasm that permeates these notes illuminates visual possibilities that I had never considered myself. I always knew pictures made things clearer to me; it is electrifying to see how common that is even among people who never considered themselves “visual.”
Morris: From which sources did you learn the most about what the mind is and does, in general, and what the verbal and visual minds do, in particular?
Roam: I have read, studied, participated in, and discussed with experts three different approaches to understanding the mind. First, I took an academic approach to understanding the mind: in university I studied biology and I was fascinated with the evolutionary development of the human brain, and more recently I consulted with vision scientists and neurobiologists at leading universities. Second, I took an applied approach: I studied meditation for four weeks in a Thai monastery (including spending one week in silent isolation), I participated in cognitive behavioral therapy sessions to see how my mind reacted to various situations and I participated in extensive psychodynamic therapy sessions to try to see why. Third, I took an intuitive approach: I simply monitored myself in hundreds of business meetings and noted when I and other people seemed to be understanding each other and when we did not – and then noted what we were talking about and how we approached it.
Morris: What are the defining characteristics of “vivid thinking”
Roam: “Vivid Thinking” is a mnemonic. Vi-V-id stands for Visual-Verbal-Interdependent thinking. It is a simple idea that says we haven’t really thought through an idea until we have both talked about it and looked at it, and that we can’t really explain an idea until we can both write about it and draw it. Vivid thinking does not accept that an either/or verbal-vs-visual approach ever fully illuminates an idea; on the contrary Vivid Thinking demands that we must exercise both our verbal and visual minds in concert if we really wish to understand an idea. Talk + look; write +draw = Vivid.
Morris: By what process can vivid thinking be strengthened?
Roam: Like anything we do, Vivid Thinking becomes strengthened through practice. For all its successes, our educational system has in fact allowed us to become lazy thinkers. By relying almost entirely on our verbal mind, we have taught ourselves to shut our visual mind down and to denigrate its importance. My goal in “Blah-Blah-Blah” is to introduce a set of simple tools and rules that reawaken our visual mind and kick it back into gear.
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Here is an excerpt from my second interview of Dan. To read the complete interview, please click here.
He cordially invites you to check out the resources at these websites:
I also urge you to check out these videos:
Dan Roam is the author of two international bestsellers, The Back of the Napkin: Solving Problems and Selling Ideas with Pictures and Unfolding the Napkin: The Hands-On Method for Solving Complex Problems with Simple Pictures, both published by Portfolio Trade, a Penguin imprint. The former was selected as BusinessWeek and Fast Company’s best innovation book of the year, and Amazon’s #5 selling business book. The Back of the Napkin has been published in 25 languages and is a bestseller in Japan, South Korea, and China. His latest book is Blah-Blah-Blah: What To Do When Words Don’t Work, also published by Portfolio/Penguin Group (November, 2011).
Roam has helped leaders at Microsoft, eBay, Google, Wal-Mart, Boeing, Lucas Film, Gap, Kraft, Stanford University, The MIT Sloan School of Management, the US Navy, and the United States Senate solve complex problems through visual thinking. Dan and his whiteboard have been featured on CNN, MSNBC, ABC News, Fox News, and NPR. His visual explanation of American health care was selected by Business Week as “The World’s Best Presentation of 2009″. This inspired the White House Office of Communications to invite him in for a discussion on visual problem solving.
Roam is the founder of Digital Roam Inc, a management consulting company that helps business executives solve complex problems through visual thinking. Through lectures, workshops, books, and hands-on projects with many of the world’s most influential organizations, He as helped teams learn to solve complex problems by relearning how to see after discovering the power of pictures as a business problem-solving tool in the 1990′s when he founded the first marketing communications company in what was then the Soviet Union. With no Russian language skills, he quickly realized that his business pictures transcended the language barrier. Since that eye-opening experience, Dan has been fine-tuning the visual thinking tools he introduces in his books.
Roam received two degrees at the University of California, Santa Cruz: fine art and biology. This combination of art and science kicked off Dan’s cross-disciplinary approach to problem solving. Dan is a licensed pilot, a skill that demands constant practice in understanding complex visual information displays. He has applied his business-oriented visual thinking skills while working in Switzerland, Russia, Thailand, France, Holland, and the US. He lives in San Francisco.
Note: Here is an excerpt from my first interview of Dan Roam. To read the complete interview, please click here. There will be a second interview in conjunction with the publication of his new book, Blah-Blah-Blah, in November.
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Morris: Before discussing any of your specific books, a few general questions. First, to what extent (if any) have you had any formal training in the creative arts such as painting, drawing, and sculpting?
Roam: I have drawn all my life. My earliest memories are of drawing pictures on my parents’ kitchen table. In school I attended the same basic art classes as everyone else. But while I showed talent and loved drawing, I didn’t like the way art was taught. It was too wishy-washy; too much about “being creative” and “expressing myself” at the expense of actually learning anything.
By the time I entered the University of California at Santa Cruz, I had no interest in pursuing art. I signed up for the Pre-Med track and studied biology, chemistry, physics, and environmental studies. But in my junior year at the university, two events occurred which were to have a profound impact on my perception of “creativity.”
The first was that I unexpectedly fell in love with organic chemistry; it turned out to be completely visual. Remember those plastic “ball and stick” models of molecules? I spent hours building shapes with them, and excelled at chemistry. The second was that I discovered that “art” could be taught as a rigorous discipline with rules and tools. Those rules had nothing to do with applying paint; they were about how people THINK — and that was exactly what I was looking for. Before long, I realized that painting was every bit as intellectually challenging as science and that the same fundamental ways of thinking applied to both.
In the end, I extended my undergraduate career by another year so that I could complete degrees in both biology and painting. I never went on to medical school, instead finding my call helping businesspeople see for themselves the connections between planning, science, finance, communications, and “art”.
Morris: I have a large family and Pictionary is one of our favorite games to play. One son is a highly-renowned professional illustrator. (He created the illustration for the homepage of my website.) Whenever we play, his team never wins because his drawings are elaborate and consume so much time. I thought about that as I read your two books. Chip and Dan Heath assert that the “stickiest” ideas are always the simplest. Why is it also true that, when communicating ideas, the simplest drawings (i.e. those involving circles, squares, arrows, and stick figures) are most effective?
Roam: Without a doubt, the simplest, fastest drawings are the most effective for communicating an idea. I understand well your son’s Pictionary challenge; I suffered the same fate as I always tried to make my drawings “better”, inevitably destroying their essential character along the way. Now I realize that I’ve actually spent the last thirty years learning how to “draw badly really well.”
Morris: With all due respect to your response to the previous question, I think one of the greatest benefits of your approach to communication is that it requires people to have a solid, crystal clear understanding of what they want to communicate and how they plan to organize their ideas before they begin to draw. Is that a fair assessment?
Roam: I believe that we do not truly know something until we can clearly explain it to someone else – and the younger the person we can explain it to, the better we know it. I’m not alone in this belief, of course. Einstein himself said, “All physical theories, their mathematical expressions notwithstanding, ought to lend themselves to so simple a description that even a child could understand them.” Since an effective picture of an idea must by definition account for the essentials, being able to draw a simple picture of your idea is just about the best test I can think of to prove that you really do understand it yourself. It’s far harder to fake a simple picture than it is a wordy essay. The picture you create is your mind standing there for all to see, unprotected by verbiage. If you can’t draw it, you don’t get it.
Morris: The creative and performing arts are often referred to as “international languages.” Having lived and worked in so many different countries, have you found that to be true?
Roam: The creative and performing arts clearly transcend language and cultural barriers, which is what makes painting and music in particular so enchanting regardless of origin. But the cognitive power of what we call “art” goes far deeper than that. When I first moved to Moscow in 1990, it was still the days of the Soviet Union. Here I suddenly found myself in a strange land, surrounded by people whose language I didn’t understand – and I was supposed to be running an advertising agency! That was crazy: in those days it was still illegal to earn a profit. In that environment, nobody – not my colleagues, employees, or clients – had a clue what “business planning” was. It was drawings that saved the day. I found that if I could map out an idea graphically (what is “profit,” for example, and why it might be a good thing), then we could begin to understand each other.
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To read the complete interview, please click here.
You cordially invited to visit these websites:
I also urge you to check out these videos:
Richard Florida is the author of several global best-sellers: The Rise of the Creative Class, The Breakthrough Illusion, Beyond Mass Production, The Flight of the Creative Class, and Who’s Your City? In his latest book, The Great Reset, he explains how new ways of living and working will drive post-crash prosperity. Florida is a regular correspondent for the Atlantic Monthly and a regular columnist for The Globe and Mail. He has also written for The New York Times, The Wall Street Journal, The Washington Post, The Boston Globe, The Economist, and The Harvard Business Review. He has been featured as an expert on MSNBC, CNN, BBC, NPR and CBS, to name just a few. He has also been appointed to the Business Innovation Factory’s Research Advisory Council and recently named European Ambassador for Creativity and Innovation. Florida’s ideas on the “creative class,” commercial innovation, and regional development have been featured in major ad campaigns from BMW and Apple, and are being used globally to transform the way regions and nations do business and “reset” their economies. He is one of the world’s leading public intellectuals on economic competitiveness, demographic trends, global trends, economics, prosperity, competitiveness, and disruptive growth as well as cultural and technological innovation.
Morris: For those who have not as yet read The Great Reset, what is a “Reset”?
Florida: Economies and societies invariably remake themselves in the wake of a crisis. It’s a necessary component of rebound and recovery. Outmoded industries and tired consumption habits make way for new goods and services, new careers and forms of employment, and population realigns itself in the landscape. All these developments are connected to lifestyle changes.
Morris: In which specific ways are economic systems “embedded within the geographic fabric” of a society?
Florida: Many ways. I have always argued that the place and geography has a significant impact on economic systems. With this Great Reset, we will see an even greater emphasis on place – more specifically the rise of the mega region, which are new and incredibly powerful economic units. No longer will we focus on the city versus suburb but on how to increase our connection to our respective mega regions. Worldwide there are just 40 significant mega regions, which are home to 1/5 of the world’s population, 2/3′s of the globaleconomic output and 85% of all worldwide innovation. The rise of vast mega-regions such as the corridors stretching from Boston to New York and Washington, D.C., which will intensify our use of land and space the way that the industrial city did during the First Reset and suburbia did in the Second.
Morris: Where were the most significant consequences of the First Great Reset in the 1870s? And of the Second Great Reset in the 1930s?
Florida: Each of the previous two Resets were actually vibrant periods of innovation. Inventors and entrepreneurs rushed to fill the voids left by struggling industries with new ideas and new technologies that led to new forms of infrastructure like railroads, subways, and highways systems. All of that innovation powers economic growth. The First Reset saw power and communication grids and streetcar and subway systems spread across the country, speeding the movement of goods, people, and ideas. This was the era of Thomas Edison and Alexander Graham Bell, Andrew Carnegie and J.P. Morgan, after all. The Second Reset brought huge developments in media, mass-produced consumer goods, and the role of large corporations, when companies like IBM rose to prominence and when what was good for General Motors was good for the nation. It also saw the rise of a suburban, mass-consuming nation.
Morris: In Chapter Thirteen, you discuss Toronto. Why do you think this city has “tremendous upside potential coming out of the current crisis”?
Florida: I’m convinced that Toronto has a tremendous upside potential coming out of the current crisis. It won’t topple New York or London as a financial center, nor will it dethrone Los Angeles as the international entertainment capital, but with its large and stable banks, numerous knowledge-based industries thriving in the surrounding mega-regions, and an increasingly diverse population, it will gain ground. And with employment opportunities in the largest centers eroding, it can make a big move on top global talent. It stands as a model of an older, once heavily industrial Frostbelt city that has not only turned itself around but continues to grow and thrive.
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To read the complete interview, please click here.
You are cordially invited to check out the wealth of resources at http://www.creativeclass.com/.