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But can you get a decent bagel there? The anxiety of choosing a city to live in
Washington Monthly, Jan-March, 2008 by Doron Taussig
Who's Your City?: How the Creative Economy Is Making Where to Live the Most Important Decision of Your Life
by Richard Florida
Basic Books, 256 pp.
[ILLUSTRATION OMITTED]
Back in August 2005, the New York Times published a story that caused a minor hullabaloo in Philadelphia. Noting that many onetime New Yorkers were relocating to their cheaper, more manageable neighbor city to the south, the Big Apple's paper of record declared a trend, and dubbed Philadelphia "the sixth borough."
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Once you got past the condescension and the logical problems with the label (if you wanted to start adding boroughs to New York City, wouldn't Philly be, like, seventeenth on the list?), the story had a lot to offer. It documented a phenomenon that affected the life of two cities, and correctly identified its causes as cost of living and convenience.
The part that struck me the most, though, was a throwaway line in the middle, about new Philadelphians who were reluctant to give up their New York phone numbers, because they couldn't admit that they'd really left. See, I myself am a native New Yorker who relocated to Philly, and I worry a fair amount about my decision to be here. I worry, for example, that I'm far from my parents and friends, and that, while I really like the City of Brotherly Love, I'll always feel more at home listening to old men argue about the Mets in a bagel store. Other urbanites, I'm sure, have their own concerns. Probably there are New Yorkers just scraping by who wonder whether they could have a higher quality of life in a smaller metropolis like Philly. The well-to-do in the Big Apple may ponder whether they'd prefer the weather in, say, San Francisco, and Bay Area residents, I can only imagine, are racked with guilt over their decision to live in a veritable resort town. For those of us fortunate enough to have a choice--because of youth, education, resources, or whatever--the question of where has become a difficult one. We have a wealth of options, a wide range of possible outcomes, and, unlike with, say, career choices or love lives, no archive of platitudes to guide us.
Enter Richard Florida, guru of all things young and urban. If you know Florida, it's probably from his smash book The Rise of the Creative Class, in which he argues that, in an era when people's creative faculties are the real means of production, cities grow by attracting creative people; to do that, he says, they need to be hip, open, and gay friendly. The book won this magazine's Political Book Award, became a national best seller, and changed the way cities thought about economic development. (This infuriated people on both sides of the political spectrum: conservatives, because it gave municipalities a development tool beyond slashing business taxes; and liberals, because they believed Florida was cheerleading inequality.) It also made Florida a sort of academic pop star. Cities around the world brought him in as a consultant, and his speaking engagements were accompanied by local newspaper articles referencing the middle-aged author's hip attire and numerous handlers.
Now, in a new book called Who's Your City?: How the Creative Economy Is Making Where You Live the Most Important Decision of Your Life, Florida attempts to expand his brand. His previous work was about cities, and how they could best attract creative professionals; this one is for professionals, and how they can best choose a home. The book is a hybrid between the academic form that gave Florida his start and the professional-advice-giver style he's since adopted; in other words, it's Florida's attempt to help his "creative class" answer the question: Where?
Like any self-help book, Who's Your City? begins by telling its readers that they're missing a great opportunity. Because creative skills have become so valuable, Florida says, creative workers are able to sell their services in a variety of places, and have become highly mobile. But, he laments, most of us fail to think very much or very hard about where we choose to live.
I think this is an oversimplification, but let's come back to that, because after making this last point Florida goes on to do something we should all applaud: he disagrees with Thomas Friedman. Florida believes people fail to think about place because we're told that place no longer matters. And Friedman, author of the best-selling book The World Is Flat, is a chief proponent of the idea that technology has made geography obsolete. Florida objects. The world is not flat, he tells us. It's "spiky."
Though the "flat" metaphor never made sense in the first place--as Matt Taibbi memorably observed in the New York Press, the significance of Columbus's discovery was that in a round world, the farthest-apart points are closer together--and though Florida, apparently eager to coin a phrase, uses the word "spiky" about 60,000 times, the image works. Creative, mobile workers tend to cluster, Florida says, and, using a number of different indicators including economic output and patents granted, he shows that the great bulk of global economic activity is conducted in a modest number of "mega-regions," or, yes, "spikes." The creative economy is not making the world fiat; it is dividing it into prosperous peaks and impoverished valleys.
