Then, last decade, new monikers began cropping up concerning cities. Who’s Your City?, a book written by socio-urbanist Richard Florida (of Toronto), unpacked his thesis of a “creative class” dominating global cities—workers in so-called creative professions, from art to film to physics, localizing effects of tolerance and self-expression to seed new-society economies. The thinking that places characterized by creativity and tolerance also have futurist economies isn’t new. Even a decade ago, this proposition felt palpable compared, say, to the plight of Rust Belt factory workers selling backyard “pets or meat” in Michael Moore movies.