"I got wrong that the creative class could magically restore our cities, become a new middle class like my father's, and we were going to live happily forever after," he told the Houston Chronicle in 2016. Yet in recent years, Florida has backtracked a bit. cities, and stressing that should never have been controversial. But such talent attraction is an important feature of modern U.S. It might be more accurate to say that these intense agglomerations attract people of all classes, and that the resulting cultural growth attracts the creative class, specifically. Not only New York City and Los Angeles, but smaller cities like Miami, Nashville, San Diego and the Big Four in Texas thrive on a certain degree of cultural appeal.
cities, it partially explained the growth for many larger ones. While Florida's theory is likely limited for most U.S. The book, the theory, and the phrase itself generated lots of buzz, earning Florida speaking fees and consulting gigs ever since. His book also advanced the creative class theory, which posits that cities do best not by luring companies, but by drawing these workers, and that economic development strategies should be tailored towards the latter. In 2002, the current University of Toronto business professor wrote The Rise of the Creative Class, about America's growing subset of workers who were generally educated, wealthy, and in creative professions. For all the mockery it's drawn, the central idea on which celebrity urbanist Richard Florida built his career was not a bad one.
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