In this book-sized expansion of his Wicker Park case study, Lloyd goes a bit deeper into the qualitative analysis, particularly in his interviews, of the neo-bohemian lifestyle, and expands on his “artist as useful labor” theory.
“…neo-bohemia is not a reified natural area but rather a mode of contingent and embedded spatial practices” (245).
Constituent to this theory is the fact that neo-bohemias are antithetical to David Brooks’ (2001) “bourgeois bohemians,” or “BoBos,” whose consumer practices only track with postindustrial neoliberal capitalism practices. Instead, neo-bohemians exhibit an “elective affinity” (241) between their artistic, do-it-yourself ethos and neoliberal capitalism’s entrepreneurial impulses. The artist, then, is useful labor in this Internet-based, image-conscious economy. Just as neo-bohemia’s residents understand themselves through identification in and with their communities, and their own “subcultural capital” (243) provides them access to status and money, art has become the “MacGuffin for [contemporary] postindustrial economic activities” (244).