The Flight of the Creative Class: The New Global Competition for Talent
3.5/5
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About this ebook
Research–driven and clearly written, bestselling economist Richard Florida addresses the growing alarm about the exodus of high–value jobs from the USA.
Today's most valued workers are what economist Richard Florida calls the Creative Class. In his bestselling The Rise of the Creative Class, Florida identified these variously skilled individuals as the source of economic revitalisation in US cities. In that book, he shows that investment in technology and a civic culture of tolerance (most often marked by the presence of a large gay community) are the key ingredients to attracting and maintaining a local creative class.
In The Flight of the Creative Class, Florida expands his research to cover the global competition to attract the Creative Class. The USA once led the world in terms of creative capital. Since 2002, factors like the Bush administration's emphasis on smokestack industries, heightened security concerns after 9/11 and the growing cultural divide between conservatives and liberals have put the US at a large disadvantage. With numerous small countries, such as Ireland, New Zealand and Finland, now tapping into the enormous economic value of this class – and doing all in their power to attract these workers and build a robust economy driven by creative capital – how much further behind will USA fall?
Richard Florida
Author of the bestselling The Rise of the Creative Class and Who's Your City? Richard Florida is a regular columnist for The Atlantic. He has written for the New York Times, the Wall Street Journal, The Economist, and other publications. His multiple awards and accolades include the Harvard Business Review's Breakthrough Idea of the Year. He was named one of Esquire magazine's Best and Brightest (2005) and one of BusinessWeek's Voices of Innovation (2006). He lives in Toronto, Canada.
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Reviews for The Flight of the Creative Class
32 ratings8 reviews
- Rating: 4 out of 5 stars4/5A good book, presenting a clear analysis of a great social phenomenon. But it is a bit old (2003)
- Rating: 5 out of 5 stars5/5Literally the most intellectually stimulating book I have ever read. Not only does it explain my own personal choices but those if my generation as a collective. This book will be very influential in my life, research and writing. Please read.
- Rating: 5 out of 5 stars5/5A surreal and dystopian portrait of Manhattan and of life in our times, whose strangeness only sharpens the accuracy of its representation.
- Rating: 2 out of 5 stars2/5This book follows Barry Dickins road through depression and his road out of it
- Rating: 3 out of 5 stars3/5Flex hours and Lattes. Hip Portland, bicycle lanes, and plenty of stats. If only the heroes of Mad Men were alive today to change their lives.
- Rating: 3 out of 5 stars3/5What makes a place livable and a good place to find a job and a life? I think this would have been a better book if it were spread over less pages.
- Rating: 3 out of 5 stars3/5Basically Florida's Creative Class shtick updated from the US to the whole world. Not much that I didn't know here, but some very interesting statistics all in one place. The last third of the book is, however, disappointing. After giving us one statistic after another about how the US is screwing up, the author feels obligated to try to provide some optimism, but the result, unlike the pessimism, comes with neither statistics nor evidence, and is nothing but a collection of fond hopes.
- Rating: 4 out of 5 stars4/5Professor Florida (nice name!) redefines the postindustrial or information society as a society with a creative class at its core. Brave new world revisited. But what is truly creative? He falls back to the old statistical hack of industry classification where a highly pampered super creative class (20%) is catered to by the rest of the creative class and a large service class. The book's insights suffer from Florida's pc behaviour of trying to include too many in his creative class (his genius hair stylist and even his inspiring cleaner). Creative industries are notoriously winner-takes-all societies. It is certainly true that everybody can be creative. The proof,however, is in the eating: Somebody has to want to fork over hard money for it and they usually prefer the number one or two.The author tries to square the elitist message of the select few with a broad (and sensible) appeal to openness, diversity and tolerance. He hides a tough truth in the book with the false hope that every city can become a star.