The rise of the Creative Class is reflected in powerful and significant shifts in values, norms and attitudes. Although these changes are still in process and certainly not fully played out, a number of key trends have been discerned by researchers who study values, and I have seen them displayed in my field research across the United States. Not all of these attitudes break with the past: Some represent a melding of traditional values and newer ones. They are also values that have long been associated with more highly educated and creative people. On the basis of my own interviews and focus groups, along with a close reading of statistical surveys conducted by others, I cluster these values along three basic lines.
Individuality. The members of the Creative Class exhibit a strong preference for individuality and self-statement. They do not want to conform to organizational or institutional directives and resist traditional group-oriented norms. This has always been the case among creative people from "quirky" artists to "eccentric" scientists. But it has now become far more pervasive. In this sense, the increasing nonconformity to organizational norms may represent a new mainstream value. Members of the Creative Class endeavor to create individualistic identities that reflect their creativity. This can entail a mixing of multiple creative identities.
Meritocracy. Merit is very strongly valued by the Creative Class, a quality shared with Whyte's class of organization men. The Creative Class favors hard work, challenge and stimulation. Its members have a propensity for goal-setting and achievement. They want to get ahead because they are good at what they do.
Creative Class people no longer define themselves mainly by the amount of money they make or their position in a financially delineated status order. While money may be looked upon as a marker of achievement, it is not the whole story. In interviews and focus groups, I consistently come across people valiantly trying to defy an economic class into which they were born. This is particularly true of the young descendants of the truly wealthy--the capitalist class--who frequently describe themselves as just "ordinary" creative people working on music, film or intellectual endeavors of one sort or another. Having absorbed the Creative Class value of merit, they no longer find true status in their wealth and thus try to downplay it.
There are many reasons for the emphasis on merit. Creative Class people are ambitious and want to move up based on their abilities and effort. Creative people have always been motivated by the respect of their peers. The companies that employ them are often under tremendous competitive pressure and thus cannot afford much dead wood on staff: Everyone has to contribute. The pressure is more intense than ever to hire the best people regardless of race, creed, sexual preference or other factors.
But meritocracy also has its dark side. Qualities that confer merit, such as technical knowledge and mental discipline, are socially acquired and cultivated.Yet those who have these qualities may easily start thinking they were born with them, or acquired them all on their own, or that others just "don't have it." By papering over the causes of cultural and educational advantage, meritocracy may subtly perpetuate the very prejudices it claims to renounce. On the bright side, of course, meritocracy ties into a host of values and beliefs we'd all agree are positive--from faith that virtue will be rewarded, to valuing self-determination and mistrusting rigid caste systems. Researchers have found such values to be on the rise, not only among the Creative Class in the United States, but throughout our society and other societies.
Diversity and Openness. Diversity has become a politically charged buzzword. To some it is an ideal and rallying cry, to others a Trojan-horse concept that has brought us affirmative action and other liberal abominations. The Creative Class people I study use the word a lot, but not to press any political hot buttons. Diversity is simply something they value in all its manifestations. This is spoken of so often, and so matter-of-factly, that I take it to be a fundamental marker of Creative Class values. As my focus groups and interviews reveal, members of this class strongly favor organizations and environments in which they feel that anyone can fit in and can get ahead.
Diversity of peoples is favored first of all out of self-interest. Diversity can be a signal of meritocratic norms at work. Talented people defy classification based on race, ethnicity, gender, sexual preference or appearance. One indicator of this preference for diversity is reflected in the fact that Creative Class people tell me that at job interviews they like to ask if the company offers same-sex partner benefits, even when they are not themselves gay. What they're seeking is an environment open to differences.
Many highly creative people, regardless of ethnic background or sexual orientation, grew up feeling like outsiders, different in some way from most of their schoolmates. They may have odd personal habits or extreme styles of dress. Also, Creative Class people are mobile and tend to move around to different parts of the country; they may not be "natives" of the place they live even if they are American-born. When they are sizing up a new company and community, acceptance of diversity and of gays in particular is a sign that reads "nonstandard people welcome here." It also registers itself in changed behaviors and organizational policies. For example, in some Creative Class centers like Silicon Valley and Austin, the traditional office Christmas party is giving way to more secular, inclusive celebrations. The big event at many firms is now the Halloween party: Just about anyone can relate to a holiday that involves dressing up in costume.
While the Creative Class favors openness and diversity, to some degree it is a diversity of elites, limited to highly educated, creative people. Even though the rise of the Creative Class has opened up new avenues of advancement for women and members of ethnic minorities, its existence has certainly failed to put an end to long-standing divisions of race and gender. Within high-tech industries in particular these divisions still seem to hold. The world of high-tech creativity doesn't include many African- Americans. Several of my interviewees noted that a typical high-tech company "looks like the United Nations minus the black faces." This is unfortunate but not surprising.
For several reasons, U.S. blacks are underrepresented in many professions, and this may be compounded today by the so-called digital divide--black families in the United States tend to be poorer than average, and thus their children are less likely to have access to computers. My own research shows a negative statistical correlation between concentrations of high-tech firms in a region and nonwhites as a percentage of the population, which is particularly disturbing in light of my other findings on the positive relationship between high-tech and other kinds of diversity--from foreign-born people to gays.
There are intriguing challenges to the kind of diversity that the members of the Creative Class are drawn to. Speaking of a small software company that had the usual assortment of Indian, Chinese, Arabic and other employees, an Indian technology professional said: "That's not diversity! They're all software engineers." Yet despite the holes in the picture, distinctive value changes are indeed afoot, as other researchers have clearly found.
Excerpted from The Rise of the Creative Class... And How It's Transforming Work, Leisure, Community and Everyday Life by Richard Florida. Available from Basic Books, a member of The Perseus Books Group. Copyright © 2003.