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First published November 2006

New York as a Global Creative Hub: A Competitive Analysis of Four Theories on World Cities

Abstract

How New York City has maintained its position atop the global urban hierarchy as a leading player in the world and national economy is part of the broader discussion on why cities grow and why some remain at the top of the heap decade on decade. There are several dominant theories explaining New York City’s success, most notably those that argue the city is a center of command and control or managerial elite and is a global hub of finance and its related services. Yet an emerging framework explaining New York City’s dominant position argues for the importance of global creative centers. From an occupational analysis of these competing hypotheses emerges a picture of New York City as a great bastion of creativity and cultural and artistic production. These results provide a unique perspective on New York City’s position in the world hierarchy of cities and new opportunities for economic development strategies.

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1.
1. LQ = (OR/TER)/(ON/TEN) where OR = regional occupational employment, TER = total regional employment, ON = national occupational employment, TEN = total national employment.
2.
2. New York City’s Primary Metropolitan Statistical Area (PMSA) includes the following counties: Bronx, Kings, New York, Putnam, Queens, Richmond, Rockland, and Westchester. PMSAs and Metropolitan Statistical Areas (MSAs) are slightly different in geography: Whereas they are both based on an aggregation of counties, when a population reaches over one million and particular commuting and population criteria are met (as is the case with the New York City region), the MSA is subdivided into PMSAs. Therefore the NYC PMSA is comparable to other MSAs (and other PMSAs).
3.
3. Although it excludes those artists who do not work for a firm or who own their own business, it is a good proxy for capturing those artists who are actually producing art with economic value. Put another way, Occupation Employment Statistics (OES) data capture the difference between saying one is an artist and actually generating revenue from artistic production. On the other hand, OES data do not count workers who are self-employed, meaning that some occupations (particularly within arts and culture) are underrepresented as those within these sectors often work for themselves. Nevertheless, OES are the best proxy for measuring occupational concentrations on an annual basis, as census data are only provided decennially.
4.
4. Large metropolitan areas are defined as those with a population of over one million. Specifically, this research includes occupational data on Austin; Boston; Charleston, South Carolina; Chicago; Los Angeles; Miami; Minneapolis-St. Paul; Raleigh-Durham; San Diego; San Francisco; and Washington, D.C.
5.
5. This research has conducted salary location quotient (LQ) analysis for 2000 to 2004, but the LQs remain generally constant, and as such, 2004 is demonstrative of the general picture of worker welfare in the selected occupations over the past four years.
6.
6. See appendix for tables with occupational LQs for major MSAs.
7.
7. A Consolidated Metropolitan Statistical Area (CMSA) is a combined geography of two or more contiguous MSAs. New York City’s CMSA includes Bergen-Passaic, NJ PMSA; Bridgeport, CT PMSA; Danbury, CT PMSA; Dutchess County, NY PMSA; Jersey City, NJ PMSA; Middlesex-Somerset-Hunterdon, NJ PMSA; Monmouth-Ocean, NJ PMSA; Nassau-Suffolk, NY PMSA; New Haven-Meriden, CT PMSA; New York, NY PMSA; Newark, NJ PMSA; Newburgh, NY-PA PMSA; Stamford-Norwalk, CT PMSA; Trenton, NJ PMSA; and Waterbury, CT PMSA.
8.
8. Because OES data are samples, albeit large samples, sometimes there is irregularity in the results. For example, obviously all the law judges did not leave New York’s MSA between 2000 and 2004, but there was some degree of decline, and the sample picked up on this decrease in employment. But because the sample number became smaller and judges are not a common occupation, the decline resulted in a number that was too low to report. The same situation occurs with other specialty occupations, for example, makeup artists.
9.
9. This location quotient was derived by running an aggregate analysis on all artistic and cultural occupations, most of which are included in the tables presented.

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Published In

Article first published: November 2006
Issue published: November 2006

Keywords

  1. creativity
  2. New York City
  3. global cities
  4. world cities
  5. economic development

Authors

Affiliations

Elizabeth Currid
University of Southern California

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