Distort the economy of a sector, an industry or a city to benefit an industry, a policy or a class of people, and you’re going to cause unintended consequences – almost all of them bad, at least for someone.

Fifteen years ago, the NPR-listening, Whole Foods-Shopping, Volvo-driving set nodded and snapped their fingers to the beat of Richard Florida, who wrapped up a bunch of toxic economic interventions in a bunch  of artisanal wrapping paper and slapped a name on it – appealing to the “Creative Class” – that was marketing genius, making the children of America’s upper-middle-class feel like their apps, their hedge funds and their vegan restaurants were part of something Big and Important.

Cities – or rather, city planning wonks (who love to see themselves in that Creative Class – fell all over themselves to engineer cities to draw this class, on the promise that they’d spur economic growth.

The results?   Well, I predicted this – and now, Richard Florida himself is acknowledging it:

The rise of the creative class in such cities as New York, Washington, and San Francisco did produce economic growth—but mostly just for those who were already wealthy. The poor, and especially the working class poor, were right out of luck. They were priced out of the city and driven out to the suburbs, where they created the kind of urban problems known only to the cities. The modern city is the greatest economic engine the world has ever known, but these days it seems to run only for the aid of those who need its benefits least. When the rich, the young, and the bohemian revitalized Austin, Boston, and Seattle, they induced a cycle of soaring prices and class replacement. The creative class brought an income inequality that hadn’t been predicted. Florida could call them a new class all he wanted. They proved to be merely the children of the old white-collar meritocracy, grown doubly rich from the rising tide of urban renewal.

So, in The New Urban Crisis, Richard Florida takes a long second look at the nation’s cities. He doesn’t admit that he had been wrong in 2002 with The Rise of the Creative Class, mostly because he doesn’t think he was wrong. The city progressed just the way he described. But what he has called the “externalities” have mounted to such an extent that they now outweigh the gains he saw 15 years ago. The creative class triumphed, and his prize cities have turned into wealth preserves—the old gated communities of the suburbs, transplanted to the urban core.

The whole thing is worth a read.