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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive QUT Digital Repository: http://eprints.qut.edu.au/ Flew, Terry (2008) Music, cities, and cultural and creative industries policy. In: Bloustien, Gerry and Peters, Margaret and Luckman, Susan, (eds.) Sonic synergies : music, technology, community, identity. Ashgate Popular and Folk Music Series . Ashgate Publishing, Aldershot, England ; Burlington, VT, pp. 7-16. © Copyright 2008 Ashgate Publishing 1 Music, Cities and Cultural Policy: A Brisbane Experience Terry Flew Published in G. Bloustein, M. Peters and S. Luckman (eds.), Sonic Synergies: Music, Technology, Community, Identity, Ashgate, Aldershot, 2008, pp. 7-16. Popular Music, Creative Cities and the Night-Time Economy The current interest of policy makers in contemporary popular music should be seen as connected to the growing worldwide interest in development of the creative industries and creative cities.1 In contrast to the move away from the inner cities that characterised the post-WWII ‘Fordist’ era of capitalism, and its separation of the city into zones of urban production and suburban consumption (Badcock, 1984, 2002; Harvey, 1989, 1991), the period since the 1980s has seen a growing worldwide interest in the development of cities as sites for creativity and consumption. While this has been driven in part by urban regeneration projects, termed gentrification or 2 ‘yuppification’ by their critics (e.g. O’Connor, 1999, p. 84), it has also reflected a growing realisation that, in a creative economy (Howkins, 2001; Venturelli, 2002), the wealth of a city or region resides not only in its physical and human capital, but also in the less tangible networks of knowledge capital and social capital that lead to the clustering of creativity and innovation in particular geographical locations (Porter, 1998, 2001; Hall, 2000).
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