TY - BOOK ID - 32750492 TI - Warhol economy : how fashion, art, and music drive New York City PY - 2007 SN - 9780691138749 0691138745 9780691128375 0691128375 0691213232 PB - Princeton University Press DB - UniCat KW - Cultural industries KW - Popular culture KW - Industries culturelles KW - Culture populaire KW - Economic aspects KW - Aspect économique KW - New York (N.Y.) KW - Economic conditions. KW - Social life and customs. KW - Conditions économiques KW - Moeurs et coutumes KW - 330.51 KW - 338.78 KW - US / United States of America - USA - Verenigde Staten - Etats Unis KW - Culture, Popular KW - Mass culture KW - Pop culture KW - Popular arts KW - Communication KW - Intellectual life KW - Mass society KW - Recreation KW - Culture KW - Creative industries KW - Culture industries KW - Industries KW - Oude en moderne corporatistische systemen. Professionele groeperingen en organisaties KW - Diensten. Non-profitsector KW - #SBIB:309H040 KW - #SBIB:316.7C140 KW - #SBIB:316.7C310 KW - Populaire cultuur algemeen KW - Cultuursociologie: cultuur en globale samenlevingen KW - Cultuurbeleid: algemeen KW - Arts (General) KW - Kunst (algemeen) UR - https://www.unicat.be/uniCat?func=search&query=sysid:32750492 AB - "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. ER -