Opinion: Why American cities must invest in the creative economy

Before Jeff Bezos butchered The Washington Post, the newspaper introduced the slogan “Democracy Dies in Darkness,” meant as a warning that secrecy corrodes democracy, while transparency and accountability keep it alive. 

Nine years later, amid polarization, economic dislocation and technological disruption, the phrase feels more urgent than ever. But what we too often overlook is that democracy’s survival depends not only on journalism, elections or laws — it also depends on creativity. 

Yes, “Democracy dies in Darkness. “But it thrives in creativity. And nowhere is the light of creativity brighter — or more necessary—than in the cities where democracy is lived every day.

 Sadly, a recent study found employment for young adults aged 22 to 25 in AI-exposed occupations has already dropped by double digits. Cities must step into this gap by re-imagining workforce policy around creativity. 

That means supporting apprenticeships in design, media and cultural production; funding digital literacy and creative skills training; and forging partnerships between local universities, arts organizations and private industry. 

Cities are where diversity, density and innovation intersect, and also where citizens experience democracy most directly: in schools, libraries, museums, theaters and public spaces. When cities invest in creativity, they don’t just create jobs — they nurture identity, belonging,and civic trust. When they neglect it, alienation grows, and democracy weakens.

Consider New York City, where a thriving arts ecosystem — from Broadway to small community theaters — drives not only billions in tourism revenue but also programs like Materials for the Arts, which re-purposes supplies for schools and nonprofits. 

Or Austin, Texas, which branded itself the “Live Music Capital of the World” and leveraged its music scene into a broader tech and creative hub, attracting startups and major events like SXSW. 

In Medellín, Colombia, once known for cartel violence, city leaders invested in libraries, cultural centers and public art as part of an urban regeneration strategy that turned Medellín into a global model for innovation and community building.

These examples show that cities that make creativity central to their economic and civic strategies reap far more than cultural prestige — they gain resilience, cohesion and global competitiveness.

Community-based arts organizations are often the first responders to social crises. The Miami Black Arts Workshop, born out of the civil rights movement, created space for both art-making and social justice, while Rhizome DC’s Community-Supported Art program reimagines funding models for grassroots creativity.

But too many such organizations face existential threats. Traditional funding streams still favor large, established institutions, while midsize and neighborhood-based groups — the ones that most directly touch communities—struggle to survive. 

Los Angeles is experimenting with guaranteed income pilots for artists, and Chicago is embedding artists directly into municipal planning departments. These are not symbolic gestures — they are models of treating creativity as essential to civic health.

The workforce is being reshaped by AI and automation. While new technologies can augment productivity, they also threaten to erase entry-level opportunities that once provided a foothold for young workers. 

A city that sees the creative economy as job creation, not charity, is a city preparing its people for a future where imagination and adaptability are the most valuable skills. This is not just economics — it is democracy’s frontline defense. A society that abandons creativity in favor of efficiency alone risks despair and authoritarian drift. Conversely, communities that elevate creativity — through murals, theater, design labs or new-media incubators—build social cohesion and civic imagination.

The crisis is here, but collapse is not inevitable. Cities have the power — and the responsibility — to lead. By embracing the creative economy as central to democratic resilience, they can:

• Reform arts funding to prioritize equity and community-based organizations.
• Develop creative workforce pipelines that respond to AI-driven disruption.
• Integrate artists into civic planning, treating them as partners in solving urban challenges.
• Invest in cultural infrastructure, from neighborhood art centers to global festival engines of civic trust and economic vitality.

John M. Eger is professor emeritus in the School of Journalism and Media Studies at San Diego State University. He previously served as telecommunications advisor to President Gerald R. Ford, legal assistant to FCC Chairman Dean Burch, and Senior Vice President of CBS.