The creative industries refers to a range of economic activities which are concerned with the generation or exploitation of knowledge and information. They may variously also be referred to as the cultural industries (especially in Europe ) or the creative economy .

Howkins' creative economy comprises advertising, architecture, art, crafts, design, fashion, film, music, performing arts, publishing, R&D;, software, toys and games, TV and radio, and video games . There remain, however, different definitions of the sector .Yet so far Howkins has not been internationally recognized.

The creative industries have been seen to become increasingly important to economic well-being, proponents suggesting that "human creativity is the ultimate economic resource," and that “the industries of the twenty-first century will depend increasingly on the generation of knowledge through creativity and innovation," .

Definitions of the creative industries

Various definitions on what activities to include in the creative industries have been suggested and even the name itself is a contested issue - there being significant differences and overlap between the terms 'creative industries', 'cultural industries' and 'creative economy' .

Lash and Urry suggest that each of the creative industries has an 'irreducible core' concerned with "the exchange of finance for rights in intellectual property," . This echoes the UK Government Department for Culture, Media and Sport (DCMS) definition which describes the creative industries as: :''“those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property.”''

The current DCMS definition recognises eleven ''creative sectors'', down from fourteen in their 2001 document. They are:

Advertising

Architecture

Arts and antique markets

Crafts

Design (see also communication design)

Designer Fashion

Film, video and photography

Software, computer games and electronic publishing

Music and the visual and performing arts

Publishing

Television

Radio

('Film and video' became 'Film, video and photography; 'Music' and 'performing arts' were combined to form 'Music and the visual and performing arts'; 'Interactive leisure software' was combined with 'Computer services' to form 'Software, computer games and electronic publishing')

To this list John Howkins would add toys and games, and also include the much broader area of research and development in science and technology . It has also been argued that gastronomy should be included.

Hesmondhalgh reduces the list to what he terms 'the core cultural industries' of advertising and marketing, broadcasting, film, internet and music industries, print and electronic publishing, and video and computer games. His definition only includes those industries that create 'texts' or 'cultural artefacts' and which engage in some form of industrial reproduction .

The DCMS list has been influential, and many other nations have formally adopted it. It has also been criticised. It has been argued that the division into sectors obscures a divide between lifestyle business, non-profits, and larger businesses, and between those who receive state subsidies (e.g., film) and those who do not (e.g., computer games). The inclusion of the antiques trade is often questioned, since it does not generally involve production except of reproductions and fakes. The inclusion of all computer services has also been questioned .

Some nations, such as Hong Kong, have preferred to shape their policy around a tighter focus on copyright ownership in the value chain. They adopt the WIPO's classifications, which divide the Creative Industries up according to who owns the copyrights at various stages during the production & distribution of creative content.

Others have suggested a distinction between those industries that are open to mass production and distribution (film and video; videogames; broadcasting; publishing), and those that are primarily craft-based and are meant to be consumed in a particular place and moment (visual arts; performing arts; cultural heritage).

How creative workers are counted

The DCMS classifies enterprises and occupations as creative according to what the enterprise primarily produces, and what the worker primarily does. Thus, a company which produces records would be classified as belonging to the music industrial sector, and a worker who plays piano would be classified as a musician.

The primary purpose of this is to quantify - for example it can be used to count the number of firms, and the number of workers, creatively employed in any given location, and hence to identify places with particularly high concentrations of creative activities.

It leads to some complications which are not immediately obvious. For example, a security guard working for a music company would be classified as a creative employee, although not as creatively occupied.

The total number of creative employees is then calculated as the sum of:

all workers employed in creative industries, whether or not creatively occupied (e.g. all musicians, security guards, cleaners, accountants, managers, etc. working for a record company)

all workers that are creatively occupied, and are not employed in creative industries (for example, a piano teacher in a school). This includes people whose second job is creative, for example somebody who does weekend gigs, writes books, or produces artwork in their spare time

Properties or characteristics of creative industries

According to Caves (2000), creative industries are characterized by seven economic properties:

#''Nobody knows principle'': Demand uncertainty exists because the consumers' reaction to a product are neither known beforehand, nor easily understood afterward. #''Art for art’s sake'': Workers care about originality, technical professional skill, harmony, etc. of creative goods and are willing to settle for lower wages than offered by 'humdrum' jobs. #''Motley crew principle'': For relatively complex creative products (e.g., films), the production requires diversely skilled inputs. Each skilled input must be present and perform at some minimum level to produce a valuable outcome. #''Infinite variety'': Products are differentiated by quality and uniqueness; each product is a distinct combination of inputs leading to infinite variety options (e.g., works of creative writing, whether poetry, novel, screenplays or otherwise). #''A list/B list'': Skills are vertically differentiated. Artists are ranked on their skills, originality, and proficiency in creative processes and/or products. Small differences in skills and talent may yield huge differences in (financial) success. #''Time flies'': When coordinating complex projects with diversely skilled inputs, time is of the essence. #''Ars longa'': Some creative products have durability aspects that invoke copyright protection, allowing a creator or performer to collect rents.

The properties described by Caves have been criticized for being too rigid (Towse, 2000). Not all creative workers are purely driven by 'art for art's sake'. The 'ars longa' property also holds for certain noncreative products (i.e., licensed products). The 'time flies' property also holds for large construction projects. Creative industries are therefore not unique, but they score generally higher on these properties relative to non-creative industries.

Difference from the 'cultural industries'

There is often a question about the boundaries between creative industries and the similar term of cultural industries. Cultural industries are best described as an adjunct-sector of the creative industries. Cultural industries include industries that focus on cultural tourism and heritage, museums and libraries, sports and outdoor activities, and a variety of 'way of life' activities that arguably range from local pet shows to a host of hobbyist concerns. Thus cultural industries are more concerned about delivering other kinds of value—including cultural wealth and social wealth—rather than primarily providing monetary value. (See also cultural institutions studies.)

The creative class

Some authors, such as the American economist Richard Florida, argue for a wider focus on the products of knowledge workers, and judge the 'creative class' (his own term) to include nearly all those offering professional knowledge-based services.

Difference from the 'knowledge industries'

The term creative industries begins to elide with knowledge economy and questions of intellectual property ownership in general.

The creative class and diversity

Florida's focus leads him to pay particular attention to the nature of the creative workforce. In a study of why particular US cities such as San Francisco seem to attract creative producers, Florida argues that a high proportion of workers from the 'creative class' provide a key input to creative production, which enterprises seek out. He seeks to quantitatively establish the importance of diversity and multiculturalism in the cities concerned, for example the existence of a significant public gay community, ethnic and religious variety, and tolerance.

Economic contribution

Globally, Creative Industries excluding software and general scientific research and development are said to have accounted for around 4% of the world's economic output in 1999, which is the last year for which comprehensive figures are currently available. Estimates of the output corresponding to scientific Research and Development suggest that an additional 4-9% might be attributable to the sector if its definition is extended to include such activities, though the figures vary significantly between different countries.

Taking the UK as an example, in the context of other sectors, the creative industries make a far more significant contribution to output than hospitality or utilities and deliver four times the output due to agriculture, fisheries and forestry. In terms of employment and depending on the definition of activities included, the sector is a major employer of between 4-6% of the UK's working population, though this is still significantly less than employment due to traditional areas of work such as retail and manufacturing.

Within the creative industries sector and again taking the UK as an example, the three largest sub-sectors are design, publishing, and television and radio. Together these account for around 75% of revenues and 50% of employment.

The complex supply chains in the creative industries sometimes make it challenging to calculate accurate figures for the gross value added by each sub-sector. This is particularly the case for the service-focused sub-sectors such as advertising, whereas it is more straightforward in product-focused sub-sectors such as crafts. Not surprisingly, perhaps, competition in product-focused areas tends to be more intense with a tendency to drive the production end of the supply chain to become a commodity business.

There may be a tendency for publicly-funded creative industries development services to inaccurately estimate the number of creative businesses during the mapping process. There is also imprecision in nearly all tax code systems that determine a person's profession, since many creative people operate simultaneously in multiple roles and jobs. Both these factors mean that official statistics relating to the Creative Industries should be treated with caution.

The creative industries in Europe make a significant contribution to the EU economy, creating about 3% of EU GDP - corresponding to an annual market value of €500 billion - and employing about 6 million people. In addition, the sector plays a crucial role in fostering innovation, in particular for devices and networks. The EU records the second highest TV viewing figures globally, producing more films than any other region in the world. In that respect, the newly proposed 'Creative Europe' programme (July 2011) will help preserve cultural heritage while increasing the circulation of creative works inside and outside the EU. The programme will play a consequential role in stimulating cross border co-operation, promoting peer learning and making these sectors more professional. The Commission will then propose a financial instrument run by the European Investment Bank to provide debt and equity finance for cultural and creative industries. The role of the non-state actors within the governance regarding Medias will not be neglected anymore. Therefore building a new approach extolling the crucial importance of a European level playing field industry may boost the adoption of policies aimed at developing a conducive environment, enabling European companies as well as citizens to use their imagination and creativity - both sources of innovation -, and therefore of competitiveness and sustainability. It supposes to tailor the regulatory and institutional frameworks in supporting private-public collaboration, in particular in the Medias sector. The EU therefore plans to develop clusters, financing instruments as well as foresight activities to support this sector. The European Commission wishes to assist European creators and audiovisual enterprises to develop new markets through the use of digital technology, and asks how policy-making can best help achieve this. A more entrepreneurial culture will have to take hold with a more positive attitude towards risk-taking, and a capacity to innovate anticipating future trends. Creativity plays an important role in human resource management as artists and creative professionals can think laterally. Moreover new jobs requiring new skills created in the post-crisis economy should be supported by labour mobility to ensure that people are employed wherever their skills are needed.

Wider role

As some first world countries struggle to compete in traditional markets such as manufacturing, many now see the creative industries as a key component in a new knowledge economy, capable perhaps of delivering urban regeneration, often through initiatives linked to exploitation of cultural heritage that leads to increased tourism. It is often argued that, in future, the ideas and imagination of countries like the United Kingdom will be their greatest asset; in support of this argument, a number of universities in the UK have started to offer creative entrepreneurship as a specific area for study and research. Indeed, UK government figures reveal that the UK's creative industries account for over a million jobs and brought in £112.5 billion to the UK economy (DCMS ''Creative Industries Mapping Document'' 2001), although the data sets underlying these figures are open to question.

In recent years, creative industries have become ‘increasingly attractive to governments outside the developed world’. In 2005, the United Nations Conference on Trade and Development (UNCTAD) XI High Level Panel on Creative Industries and Development commissioned several studies to identify challenges and opportunities facing the growth and development of creative industries in developing industries. As Cunningham ''et al.'' (2009) put it, ‘the harnessing of creativity brings with it the potential of new wealth creation, the cultivation of local talent and the generation of creative capital, the development of new export markets, significant multiplier effects throughout the broader economy, the utilisation of information communication technologies and enhanced competitiveness in an increasingly global economy’. A key driver of interest in creative industries and development is the acknowledgement that the value of creative production resides in ideas and individual creativity, and developing countries have rich cultural traditions and pools of creative talent which lay a basic foundation for creative enterprises.

See also

Creative City

Smart City

Intelligent city

Cognitive-cultural economy

References

Description and preview.

Parrish, David (2005). T-Shirts and Suits: A Guide to the Business of Creativity, Merseyside ACME.

Pasquinelli, Matteo (2006). . In: Lovink, Geert and Rossiter, Ned (eds). MyCreativity Reader: A Critique of Creative Industries, Amsterdam: Institute of Network Cultures, 2007.

Towse, Ruth (2002). ''Book Review of Creative Industries'', Journal of Political Economy, 110: 234-237.

Van Heur, Bas (2010) ''Creative Networks and the City: towards a Cultural Political Economy of Aesthetic Production''. Bielefeld: Transcript.

External links

Queensland University of Technology - Brisbane, Australia:

QUT Creative Industries Faculty: http://www.creativeindustries.qut.edu.au/

QUT Creative Enterprise Australia: http://www.qut.creativeenterprise.com.au/

Creative Industries Precinct: http://www.ciprecinct.qut.edu.au/

Institute for Creative Industries and Innovation: http://www.ici.qut.edu.au/

ARC Centre of Excellence for Creative Industries and Innovation Institute for Social Research: http://www.cci.edu.au/

Australasian CRC for Interaction Design Pty Ltd: http://www.interactiondesign.com.au/

Northeastern's Creative Industries Program, Boston, MA:

http://www.ci.neu.edu/

National Institute for Excellence in the Creative Industries (NIECI), UK:

http://www.bangor.ac.uk/creative_industries/

Department of Culture, Media and Sport, UK: http://www.culture.gov.uk

CultureCount: New England's Cultural Database: http://www.culturecount.org/

Category:Creativity Category:Finance Category:Cultural economics

ca:Indústria de l'entreteniment de:Kulturwirtschaft id:Industri kreatif lv:Radošā ekonomika lt:Kūrybinės industrijos nl:Creatieve industrie ja:創造産業 pt:Indústrias criativas th:เศรษฐกิจบนพื้นฐานความคิดสร้างสรรค์ uk:Інтелектуальна економіка zh:文化創意產業

name	Jessie J
alt	f
background	solo_singer
birth name	Jessica Ellen Cornish
alias	Jessie J
birth date	March 27, 1988
birth place	Chadwell Heath, London, England
genre	R&B;, pop, hip hop, soul
years active	2006–present
label	Lava, Universal Republic, Island, Gut
website
notable instruments	}}

Jessica Ellen Cornish (born on 27 March 1988), better known by her stage name Jessie J, is an English singer-songwriter, currently signed to Island Records. She began her career as a songwriter for artists including Chris Brown and Miley Cyrus. Her debut single, "Do It Like a Dude", was released in November 2010 and peaked at number two on the UK Singles Charts. Follow-up single "Price Tag" reached number one in the United Kingdom, France, Ireland and New Zealand, and reached the top 10 in nineteen other countries. Her debut album, ''Who You Are'', was released in February 2011 and charted at number two on the UK Albums Chart. In February 2011 Jessie J won a BRIT Award, Critics' Choice. It was revealed in October 2011 that Jessie J will be a coach and a mentor on the television show, ''The Voice UK''.

Early life

Jessie J was born Jessica Ellen Cornish in Chadwell Heath, London and was educated at Mayfield High School in the London Borough of Redbridge. She attended Colin's Performing Arts School and as an eleven year old was cast in Andrew Lloyd Webber's West End production of ''Whistle Down the Wind''. Jessie has two sisters, who are five and seven years older than her, who were both head girls at school.

Unlike her academic sisters, Cornish has stated she was "never really that good at anything". She said, "At school they were like 'oh, you're a Cornish girl' and they kind of expected me to be the same as my sisters. Give me something to draw or an outfit to pick for someone, or hair, make-up, acting, write a song, I'm fine with it, but anything to do with sums – it was never my thing." She also said she never based her intelligence on her exam results. She also said she was always good at singing and it was her "thing".

At the age of 16 she began studying at the BRIT School and at 17 she joined a girl group named "Soul Deep". She graduated in the class of 2006 along with singers Adele and Leona Lewis. At 18 she suffered a stroke.

Music career

2006–2009: Career beginnings

Jessie J was signed to Gut Records, recording an album for the label, but the company went bankrupt before any material was released. She then found success as a songwriter, gaining a Sony ATV publishing contract. She was also the support act for Cyndi Lauper during Lauper's UK dates of her 2008 Bring Ya To The Brink tour (Lauper invited J to join her on stage for the performances of Girls Just Want To Have Fun). Jessie has also written lyrics for artists such as Chris Brown and Miley Cyrus, including "Party in the U.S.A.".

Jessie J was also part of a girl band, called 'Soul Deep', for two years, however she left due to thoughts that "it wasn't going anywhere". Despite people thinking that her first notoriety was through YouTube, Jessie was signed for four years before her first video was posted.

Jessie first came to the attention of Lava Records when her publisher at Sony/ATV, Rich Christina, sent Lava president Jason Flom a link to her MySpace page, which the record executive loved. After seeing an impressive U.S. showcase, Lava was, along with several other labels, keen to sign the artist but progress was hampered by her management's insistence on, what Flom called, a "crazy deal", and their refusal to let Jessie speak to any labels directly. Despite this, Senior Director of A&R; at Lava, Harinder Rana, made surreptitious efforts to meet Jessie on her own in winter of 2008. Later in the year a change in management to Sarah Stennett and Nadia Khan of Crown Music allowed record deal negotiations to take place. Jessie eventually signed with Lava as part of a joint venture with Universal Republic.

2010–present: ''Who You Are''

Jessie J began recording her debut studio album in 2006 and it was completed on 19 January 2011. She revealed that "Big White Room" would be on the album and was written from an experience she had when she was 11 years old, although she wrote the song at age 17, in hospital, where a ward mate, a little boy, died. Jessie J says the album's title track, "Who You Are", is one of her proudest creations, she said the song is a "positive role model for young people" and "I always say that I'm half-artist, half-therapist"

In late 2010 Jessie J released her first single, "Do It Like a Dude" which was co-written with George Astasio, Tj Normandin, Jason Pebworth, Jon Shave, Kyle Abrahams and Peter Ighile. Originally, she wrote the song with Rihanna in mind because "Rude Boy" was released at the time, partly inspiring the song. She then sent the song to her label, Island Records, before sending it to Rihanna's management. Island insisted the song become Jessie J's first single. She wishes to perform the song with Rihanna at one point. The single gained positive reception from critics. The single charted at number two on the UK Singles Charts. Her follow-up single "Price Tag" was released in late January 2011. This was written by Jessie J, Lukasz Gottwald, Claude Kelly, and Bobby Ray Simmons, Jr. and charted at number one in the top of the charts. "Price Tag" was released in the United States on 1 February 2011 and peaked at 23 on the ''Billboard'' Hot 100. "Price Tag" also charted at number-one in New Zealand and Ireland and is the most successful online video J has released. As of October 2011, the video has generated over 148 million views on Youtube and Vevo, making it the 22nd most viewed music video of all time. Her first American television appearance was as the musical guest on the 12 March 2011 episode of NBC's ''Saturday Night Live''.

On 25 February 2011 her debut album, ''Who You Are'', was released. The album first entered the charts on 6 March 2011 where it charted on the UK Album Charts at number two. The album charted into the top ten in a number of countries and number 11 in the United States.After the release she went on to release a third single from the album, "Nobody's Perfect". MTV reported that the single is, so far, only confirmed for release in the United Kingdom. The album's fourth single was "Who's Laughing Now". "Domino" was her second US single. The Dr. Luke-produced track was sent to mainstream radio on 6 September 2011. With the success of ''Who You Are'' in North America, Jessie was chosen to tour as the opening act for American pop artist Katy Perry's ''California Dreams Tour'' in 2011 but after she was unable to fully recover from her injuries during rehearsals she was forced to pull out under the doctor's orders.

Jessie J served as the house artist at the 2011 MTV Video Music Awards, performing several of her original songs along with covers around commercial breaks.

In early 2011 she suffered a panic attack on stage after she was forced to perform in the dark. "I did a gig recently and had a panic attack on stage," she told ''NOW''. "The night was called 'Black Out' and I had to perform in the dark. I asked them to turn on the lights and they didn't. I was onstage in pitch black and, because I couldn't see anything, I started to panic. It was awful." James Morrison's third studio album, ''The Awakening'' features a collaboration with Jessie J called "Up", the song was released as a single on 4 December 2011. On 4 October Jessie announced that she will be one of four coaches for new BBC program, ''The Voice UK''.Jessie J re-released "Who You Are" on 9 November 2011, featuring the regular tracks plus "Domino" and two new songs. "Domino" became her second top 30 hit in the U.S., following the success of "Price Tag". The song also peaked at number 1 in January 2012 in the UK, before it was even officially released there.

Personal life

On 12 June 2011 at the Capital Radio Summertime Ball, Jessie ruptured several tendons in her foot during rehearsals, and performed her set the following day while sitting on a gilded throne. For her appearance at Glastonbury Festival 2011 on 25 June 2011, she performed on the throne again, claiming her physician had told her not to perform with her broken foot which would take six weeks to heal. Jessie J was scheduled to play at several festivals throughout the summer, however it was reported on 1 July 2011 that she would not be able to attend T in the Park, T4 On The Beach, Wembley:Orange, iTunes Festival, Lovebox and Oxegen due to the injuries to her foot. Jessie J personally tweeted before surgery; "Keep making nervous jokes with the doctor and he keeps looking at me blankly. Which is making me laugh even more. It's getting serious. I just took my nose stud out." Tweeting after the surgery, she wrote: "Can't keep tweeting. Still very dizzy and being sick. But I'm OK, I got through it." Her record label released an official statement on 30 June 2011 that under strict orders from her doctor, she will not be able to perform for a number of weeks so she can heal and recuperate properly. She returned to the concert circuit in late August, including sets at the V Festival and The Big Chill. For the 2011 VMA's she was still in a cast and using the throne to keep off of it.

Jessie J confirmed on 2 August 2011 that she would be shaving her hair off for charity in 2012. Speaking via her official Twitter account she said: “It’s hair, It will grow back. Even if it takes 2 years, if it saves lives it’s worth it. Even if its 1 life that’s something.”

Jessie J is openly bisexual and stated in an interview on the "In Demand" radio show on March 3, 2011, "I've never denied it. Whoopie doo guys, yes, I've dated girls and I've dated boys – get over it."

Music and voice

Although she was first identified as a soul singer, she primarily records songs of contemporary R&B; and pop music with hip-hop influences.

Music critic Matthew Perpetua of Pitchfork Media compared Jessie J to her peers Adele and Amy Winehouse, but admitted she was missing something: "Whereas Adele and Winehouse also have powerhouse voices, they fit into clear aesthetic niches and invest their songs with depth and humanity. Jessie J doesn't have even a fraction of their restraint." Perpetua added: "Her idea of showcasing her gift is to shoot for a blaring melisma on "Mamma Knows Best" that makes Christina Aguilera seem as subtle as Joni Mitchell by comparison." Ailbhe Malone of the music magazine NME also recognized Cornish's "undeniably potent voice". However, she pointed out the possible "identity crisis" that might have been caused by Jessie's songwriter past: "This is an album of singles for other artists. There’s Rihanna Jessie (‘Do It...’), Perry Jessie (‘Abracadabra’), Pixie Jessie (‘Mamma Knows Best’), Ellie Jessie ('Big White Room')."

Caroline Sullivan of The Guardian shared her positive opinion about the singer, saying that "if any singer has the potential to be the British Katy Perry or Pink, with the accompanying millions of sales, it's her". Sullivan also complimented Cornish's attitude: "[Her songs] are delivered with a confidence that money can't buy." Entertainment Weekly's music critic Adam Markovitz said of Jessie: "The 23-year-old Brit has all the tools, from a monster voice to an ear for hooks — she co-wrote Miley Cyrus' Party in the U.S.A. — and a manic persona that's equal parts Katy Perry, Kristin Chenoweth, and Alice Cooper.

Discography

''Who You Are'' (2011)

Filmography

+Television	Year	! Title	! Role	Notes
2012	''The Voice UK''	Herself

Awards and nominations

References

External links

Category:1988 births Category:Living people Category:Bisexual musicians Category:Electronica musicians Category:English female singers Category:English mezzo-sopranos Category:English pop singers Category:English rhythm and blues singers Category:English singer-songwriters Category:English-language singers Category:LGBT musicians from the United Kingdom Category:LGBT people from the United Kingdom Category:People educated at the BRIT School Category:Singers from London Category:Stroke survivors Category:The Voice judges Category:People from Chadwell Heath

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