What’ll it be? Cocktail bartenders and the redefinition of service in the creative economy

Ocejo, Richard E.

doi:10.1016/j.ccs.2011.01.004

Cited by 22 publications

(28 citation statements)

References 5 publications

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“…Criticism of the law and other authorities may inspire bartenders to replace the law with their own norms, which are rooted in a liberal drinking culture. This is in line with Maynard-Moody & Musheno 2000 Studies suggest that bartenders have high status among youth; bartenders working at cocktail bars, for example, are generally considered as "hip" and "cool" (Neff, Wissinger, & Zukin, 2005;Ocejo, 2010). Nevertheless, bartenders may not always have the upper hand in their interactions with patrons and are sometimes shown little respect.…”

Section: Conflicting Goal Expectationssupporting

confidence: 74%

Bartenders as street-level bureaucrats: theorizing server practices in the nighttime economy

Buvik

Tutenges

2017

Addiction Research & Theory

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Most Western countries have laws that prohibit the serving of alcohol to intoxicated and underage patrons in nightlife venues such as pubs and nightclubs. Despite laws and the implementation of server training programs, several studies have shown that intoxicated patrons are still likely to be served. This think-piece article attempts to shed new light on the tendency among bartenders to overserve patrons. Based on a selective review of the literature, we argue that future research on bartenders is in need of theoretical development and guidance as well as more rigorous crossnational comparisons. We propose that Michael Lipsky's theory of street-level bureaucrats can deepen our understanding of bartenders and their serving practices. Bartenders may be conceptualized as street-level bureaucrats whose jobs are characterized by continuous interactions with different citizens asking for their attention and services. We argue that, just like street-level bureaucrats, bartenders have to deal with numerous people and their demands, and must make swift decisions based on their own discretion. Bartenders are encouraged by their managers to sell as much as possible, but at the same time they are supposed to obey the law against overserving alcohol to intoxicated and underage patrons. Previous research provides many examples of how bartenders develop shortcuts and bend rules in order to make their jobs more manageable and deal with the contradictory pressures they experience. The paper provides theoretical tools to understand how and why bartenders develop routines that are different from those intended by policy makers.

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Section: Conflicting Goal Expectationssupporting

confidence: 74%

Bartenders as street-level bureaucrats: theorizing server practices in the nighttime economy

Buvik

Tutenges

2017

Addiction Research & Theory

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“…However, again the difficulties of defining a ‘creative’ occupation make this more complex. Ocejo (2010) cites two examples of occupations within which levels of creativity could vary quite markedly — hairdressers (who might be relatively rudimentarily skilled in a barber's shop or quite highly qualified in a hairdressing salon) and chefs (who might be invisible in a cheap diner or enjoy near‐celebrity status in a fashionable restaurant). Lloyd (2006) notes how artists often undertake multiple occupations, and may rely on service sector occupations for their livelihood.…”

Section: Analysing the Disjuncture Between Creative Policy And Creatimentioning

confidence: 99%

“…However, rather than simply being an economic necessity, such circumstances can offer artists ways of entering local creative ‘scenes’. Ocejo (2010) further considers examples of service occupations offering individuals the chance to benefit from the creative economy by upskilling and earning higher incomes, focusing especially on bartenders in cocktail bars (whom he suggests undertake a form of ‘craft production’ in the knowledge‐based preparation of bespoke drinks to suit customers' tastes). Considerably less — virtually nothing — is known about the experiences of those engaged in manufacturing, forming a further avenue for exploring the complex relationship of different ‘creative’ occupations to creative policy.…”

Section: Analysing the Disjuncture Between Creative Policy And Creatimentioning

confidence: 99%

Getting Creative with the ‘Creative City’? Towards New Perspectives on Creativity in Urban Policy

Borén

Young

2012

Int J Urban Regional Res

109

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This article explores new avenues for academic research on the ‘creative city’. Creativity offers opportunities for urban development and the personal development of urban inhabitants, but its adoption in urban policy is frequently criticized for being welded to economic imperatives and a neoliberal agenda. Urban policymakers worldwide continue to adopt narrow conceptualizations of ‘creativity’ while largely ignoring extensive academic criticism of the concept, suggesting that academic concerns with creativity in urban policy need to be reoriented more effectively. This article develops four key theoretical points on the ‘creative city’ and creative urban policy. It argues that the focus of enquiry should shift towards a more in‐depth understanding of how ‘creativity’ is constructed, contested and performed in specific urban contexts, understanding the ‘creative policy gap’ between policymakers and those engaged in all kinds of creative practice, and developing forms of artistic intervention to attempt to make creative policymaking more inclusive and ‘creative’. These points are developed through a critique of the literature and some illustrative examples of people in creative occupations interacting with urban planners and policymakers in creative interventions. Résumé De nouveaux axes de recherches s’ouvrent à la ‘ville créative’. La créativité offre des possibilités d’aménagement urbain et d’épanouissement personnel des citadins, mais son intégration aux politiques urbaines est souvent critiquée pour être indissociable d’impératifs économiques et d’objectifs néolibéraux. À travers le monde, les décideurs des politiques urbaines adoptent encore des notions étriquées de la ‘créativité’, négligeant les fréquentes remises en question du concept dans les études académiques, et prétextant que l’intérêt des chercheurs pour la créativité dans ce domaine devrait être réorienté plus efficacement. Quatre points théoriques sur ‘la ville créative’ et sur une politique urbaine créative sont présentés: les études devraient tenter de mieux comprendre les manières d’élaborer, de contester et de concrétiser la ‘créativité’ dans des contextes urbains particuliers, appréhender le ‘déficit de politique créative’ entre les décideurs politiques et les personnes qui exercent toutes sortes de pratiques créatives, et développer des formes d’intervention artistique afin de susciter des approches des politiques urbaines plus inclusives et plus ‘créatives’. Ces points sont examinés en analysant les publications existantes, ainsi que plusieurs exemples de personnes exerçant des professions créatives en interaction avec les urbanistes et les décideurs politiques dans le cadre d’interventions créatives.

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“…Craft production involves physical manufacturing based on traditional knowledge and haptic skill. Yet, craft encompasses not only a mode of production but also a normative stance that views particular practices and processes as superior to others (Banks, ; Jakob, ; Ocejo, ; Sennett, ). Craft producers are dedicated to doing “good work” and hold materially specific definitions of what that entails (Sennett, , p. 20).…”

Section: Introductionmentioning

confidence: 99%

The contemporary geographies of craft‐based manufacturing

Miller

2017

Geography Compass

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This paper reviews the literature on craft production to explore the ways in which the normative landscape of craft is affecting the contemporary geographies of craft‐based manufacturing. Craft forms of production have enjoyed a revival in recent decades in what is now called the “third‐wave” craft movement. In this paper, I consider the origins and characteristics of third‐wave craft as well as its historical precedents. I highlight 3 distinct geographies associated with contemporary craft‐based manufacturing, including a fusion of industrial and cultural production in industrial workspaces, a relocalization of small‐scale industrial production in advanced economies, and a tendency towards spatial agglomeration in both urban and rural areas. Drawing on the case of the American craft‐brewing sector, I offer a picture of these distinct geographies in a representative manufacturing industry and highlight the need to consider the ways in which craft production and articulations of its values manifest differently in different industries. Finally, I conclude by offering reflections on the landscape of craft‐based manufacturing and potential avenues for future geographical engagements with craft production.

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What’ll it be? Cocktail bartenders and the redefinition of service in the creative economy

Cited by 22 publications

References 5 publications

Bartenders as street-level bureaucrats: theorizing server practices in the nighttime economy

Bartenders as street-level bureaucrats: theorizing server practices in the nighttime economy

Getting Creative with the ‘Creative City’? Towards New Perspectives on Creativity in Urban Policy

The contemporary geographies of craft‐based manufacturing

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