Northshore Magazine

128 isn't always given a fair shake. But those who speak about it in less than favorable terms probably haven't visited in while. Like every city, it has its underbelly, but it's time to look at the birthplace of the American Industrial Revolution with fresh eyes. Things are chang- ing. Slowly. But surely. Anchored on the Pawtucket Falls, just above the junction of the Merrimack and Concord rivers, mills once pumped with industry thanks to an integrated canal system developed in the early 1820s. As a result, Lowell became a Mecca for textile production. Today, those same mills are home to another kind of industry—one belonging to the artis- tic spirit that now winds its way through the city. The mills, in combination with Lowell's rich history, urban context, and industrial architecture lend fodder to artists of all types, while cobblestone streets lined with bou- tiques, entertainment venues, international eateries, and historic landmarks give lift to the once-crumbling city. During the early 1990s, cultural affairs were brought to the fore. Efforts were made to define an arts district proper; interested parties went to city hall to get zoning established for artists' live/work spaces. The famed "Mills to Martinis" campaign was meant to lure artists to the city. By 1998, the Downtown Lowell Arts District was established and real estate developers got busy. "There's a Lot to Like about Lowell" became the city's tag line. And culture became a commodity. In the Scene Steven Syverson is president of ALL and owner of Van Gogh's Gear art supplies store. A thriving arts community comprised of visual, literary, and performing art- ists was thought to have the power to transform the city's gritty streets. In 2007, a business advocacy organiza- tion commissioned a cultural plan for the next two decades. Its proponents outlined principles for implementation, with a focus on ensuring that the "crea- tive economy" celebrate diversity and provide economic benefits for all. Music, media, and design industries aimed to bring in external revenues through cul- tural tourism and the export of cultural goods and services. But not everything went according to "The Lowell Plan." Yes, the arts gave a jump start to an anemic economy, but, in many eyes, the endeavor morphed into a straight-up real estate investment. The converted mills' live/work spaces, initially meant for artists, now average about $250,000—hardly affordable on a typi- cal artist's salary. Today, both the threat of and the need for gentrification loom large, and the city still struggles to get out of the mire. "It was a real estate thing," says Steven Syverson, president of the Arts League of Apr14 Lowell.indd 128 2/21/14 3:11 PM

• Cover