| Descript |
xvi, 258 pages : illustrations ; 24 cm |
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text txt rdacontent |
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unmediated n rdamedia |
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volume nc rdacarrier |
| Note |
Includes bibliographical references (pages 233-242) and index |
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Art, culture, and New York City -- How it all began : from the rise of the factory to the rise of bling -- Becoming creative -- The social life of creativity -- The economics of a dance floor -- Creating buzz, selling cool -- The rise of global tastemakers : what it all means for the policymakers |
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"Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy." --Cover |
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Cultural industries -- New York (State) -- New York
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New York (N.Y.) -- Social life and customs
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Popular culture -- Economic aspects -- New York (State) -- New York
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