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.
In his own words….
I’ve had a long career as a journalist and author. Lately, I’ve added a new hat: I’ve joined VSA Partners as its Editorial Director. The plan is to marry business to big-think journalism in a way that hopefully helps both prosper. The first example of that is the book commissioned by IBM and co-authored by me, Steve Hamm and Jeff O’Brien — Making the World Work Better.
My latest book, co-authored with Vivek Ranadivé, is The Two-Second Advantage: How We Succeed by Anticipating the Future…Just Enough (September, 2011).
Last year, I had another book out: Trade-Off: Why Some Things Catch On, and Others Don’t. The hardcover was published in the fall of 2009 by Broadway Books; the paperback, in August 2010.
I contribute occasionally to Fortune, The Atlantic, Fast Company and other magazines. I had been a contributing editor at the ill-fated Condé Nast Portfolio, joining the magazine prior to its launch in 2007 and hanging on until its demise in April 2009.
Before all this, I worked at USA Today for 22 years, much of it as the newspaper’s technology columnist. The job gave me the privilege of interviewing most of the biggest names in the industry. Here and there, I end up on television and radio. I’ve appeared on PBS, NPR, CNBC, and other media outlets, and I’ve frequently been a keynote speaker and on-stage interviewer at events and conferences.
On the music side, in 2008 I worked with a group of terrific Bay Area musicians and recorded a CD of songs of wry commentary about business and technology. It’s called “Privacy,” by Kevin Maney & His Briefs. You can actually buy it on iTunes. I’ve also played in a DC-area band, Not Dead Yet, which at the moment is dormant, if not actually dead. My shining moment was getting my song “Found It On Google” played on Mitch Albom’s radio show.
I graduated from Rutgers University, grew up in Binghamton, N.Y., and now live outside Washington, DC, while spending a lot of time in New York.
[Here is an excerpt from my second interview of Kevin. To read the complete interview, please click here.]
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Morris: Before discussing The Two-Second Advantage, a few general questions. First, of all the people with whom you have been closely associated, which has had the greatest influence on your personal development? How so?
Maney: Over the very long run, I guess it’s been my brothers. I’m the oldest of three, and the next one is Dave, and then Scott. (I also have a stepbrother, Mark.) Dave, Scott and I have always been close, but it’s more than that. I think our opinions of each other carry great weight, and that’s pushed each of us to be better people, be more ambitious, be wittier, raise better kids, and whole lot of other things like that. And it’s a supportive competitiveness. We’ve always boosted each other, and at times even done business together. Right now, I’m working at a firm, VSA Partners, that Scott introduced me to, and playing a role in Dave’s start-up, Economaney. Fortunately for me, I’m the least smart and savvy of the three of us, so I think I get to learn more from them than they do from me.
Morris: On your professional development?
Maney: There are two people. When I was 25, Hal Ritter just became editor of USA Today’s Money section, and he hired me. I think I was his first hire. I’d say we had a respectful but sometimes contentious relationship. He could be a hard guy to work for — demanding and harsh. But he was also maybe the smartest editor I ever worked for. He knew his audience and drove us to write for it with clear, lean prose. He taught me to have standards and never settle for less, and to have the discipline to always think of the reader. I worked for Hal for the first decade of my career. Whatever kind of writer I am today, it’s because of those 10 years. Hal is now an editor at the Associated Press. We nominally keep in touch.
The other important person is Jim Collins. While Hal taught me to pay attention to the details, Jim played a significant role in helping me think big and broadly. The two of us met well before Jim got famous for his books Built to Last and Good to Great. I was working on a story for USA Today, and talked to a publicist at Stanford, where Jim was a professor at the time, about it. The publicist told me that I should talk to Jim — that Jim was working on a book about a similar topic. That book ended up being Built to Last, but it was then a half-finished manuscript. Jim and I talked and hit it off. He sent me the manuscript, and I thought it was one of the most important business documents I’d ever read. When Built to Last was finally published, I jumped on it and wrote a cover story for USA Today, which in turn was the spark that sent the book up the bestseller list.
Anyway, Jim and I became friends, and I can’t tell you the number of big, analyze-the-universe conversations he and I have had. I love the way he makes me think. His ideas about corporations had a huge impact on the way I analyzed Thomas Watson in The Maverick and His Machine. I wouldn’t be the same kind of author if not for Jim’s friendship.
Morris: Years ago, was there a turning point (if not an epiphany) that set you on the career course you continue to follow? Please explain.
Maney: I knew I wanted to be a writer from as far back as I can remember. That was my talent. Lord knows it wasn’t math. If there was an epiphany, it came when I went to Rutgers and got involved in the journalism program. I reluctantly signed up for a journalism major, thinking I needed a fall-back way to make money should my career as a novelist fail to take off. As I started to try on journalism, including doing internships and working at the campus paper, I found I actually liked it. So I started to want to be a journalist.
And then there was another epiphany when I discovered the great old New York Times columnist Russell Baker. I realized there could be a way to be a newspaper journalist and write funny yarns in a column. Then I wanted to be Russell Baker. I kind of half achieved it — writing a column for USA Today that often involved funny yarns about technology.
Morris: To what extent has your formal education been invaluable to what you have since achieved thus far?
Maney: Well, with all due respect to Rutgers, I’m not sure the value of my time there was in what I learned academically. It was more about the fact that Rutgers introduced me to journalism and diverted my path into newspapers.
Morris: You are a serious musician. To what extent has your significant involvement with music proven to be highly valuable in ways and to any extent you had not anticipated? Please explain.
Maney: I’m not sure how much the word serious applies! I write songs like “Wouldn’t Want to Be Bill Gates” and “Little Tattoo and All Over Tan.” But I certainly have pursued music in general and songwriting in particular.
What’s it done for me? I think it’s become part of my personal brand — in a field where having a personal brand is an asset. It’s helped me stand out a bit in the minds of a lot of people in the tech industry. I’m that tech writer who gets on stage and plays funny tech songs. I wouldn’t want that to be all I’m known for, but it’s a bit of a differentiator.
Morris: In your opinion, what will be the single greatest challenge that business leaders (especially CEOs) will face during the 3-5 years?
Maney: This gets a bit into what I’m doing with my brother Dave. He and I and other people we’re working with believe that the disruptions and difficulties in the economy the past few years aren’t just a bump in the road — they’re part of a massive change in very big forces, brought on by the Internet, globalization, and the flood of data. It’s changing the very nature of what a company is, the nature of what a job is, the value that proximity has or doesn’t have. Economaney is kind of a new age think tank for tossing these ideas around and trying to make sense of them. All in all, the next three to five years are going to be among the most challenging in history to be a CEO in America — or for that matter, President of the country.
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To read the complete interview, please click here.
Kevin Maney cordially invites you to check out the resources at these websites: