Creating and sticking to a budget is the poor middle class financial survival tool that allows for clarity and transparency. It is crucial. The best way to start is with pencil and paper. Determine your major budget categories. Transferring them to a computerized bookkeeping program is simple. We have actually set up our computerized bookkeeping system based on the following categories plus additional subcategories. It works very well for us. But you can stay with a manual spreadsheet if you prefer.
Setting Up Expense Categories
This is how we have been able to come up with a budget. We set up a bookkeeping system. First, we add up our income. From there, we have a clear picture of how much there is available to spend. Then we set up our expense categories. Everyone has their own profile based on their life, family and needs. These are the major categories we use: • HOME
• FUN, ENTERTAINMENT & VACATION
Within each of these major categories, we have set of subcategories that reflect our expenses:
HOME • Rent
FOOD • Groceries
• Auto Insurance
• Public transit
PERSONAL-HUSBAND & WIFE (EACH HAS THEIR OWN LISTING BUT WITH THE SAME CATEGORIES)
• Personal items/hobby
• Rx copay
• Dental Care
• Life Insurance
• Eat Out/Celebrate
You may find, as we have, that your expenses exceed your income. As seniors on fixed incomes, as young people working more hours but earning little money, as breadwinners who has lost their livelihood, this may be your challenge too. The additional posts in this blog series will be devoted to a solution. That solution is building and implementing your financial survival toolkit.
The Poor Middle Class Crisis is the story of The Poor Middle Class. It is designed to be a resources guide for the Financial Survival of the Poor Middle Class. This guide is an instruction manual for building resources known as a ‘financial survival toolkit’. It also encourages readers to start or find and participate in a ‘financial survival support group or community’.
The Poor Middle Class, itself, is a relatively new phenomenon. Our personal membership was precipitated by the 2008 stock market crash the same week as a primary income earners job layoff. For others families, becoming affected by the poor middle class crisis may have been due to the subprime mortgage scandal. It cost many families their homes. The Poor Middle Class are composed of people who were once middle class, who likely have college degrees or advanced degrees, had careers and good jobs, had homes with equity in them, had pensions, had good health insurance and savings.
The Challenge for The Poor Middle Class
Financial survival has become a critical issue for the Poor Middle Class. This is a crisis that has led to the growing need for new, resourceful financial survival tools. These tools are not exclusive to one demographic, one age group, a particular sex, or one location. But because I am a ‘senior’ living in New York State, some of the tools and resources may apply specifically to people in this demographic.
As a result, I especially welcome your comments and additional suggestions to expand the resources for anyone’s financial survival toolkit. Therefore, I invite you to visit and participate in my companion Facebook page, The Poor Middle Class Crisis & Resources.
Now, we have almost nothing left of that life. But we are not technically poor. Therefore we do not qualify for the level of government benefits reserved for those living in poverty. But we are no longer middle class, either. We are in a place where we cannot meet the obligations of a middle class lifestyle. But we are not poor enough to get enough assistance to survive, either. We also are unable to find or maintain jobs like we had before the financial crisis began. The result is that we need to become very resourceful to survive. Therefore, I needed to gather new financial survival resources. I have created a ‘Financial Survival ToolKit’ in my mind to transform this crisis into an adventure rather than a place of fear.
My Financial Survival Toolkit
It has taken me years to compile the resources, tips and suggestions I have in my financial survival toolkit. In addition, I continue to add to it. I am a visual person so I find it helpful to choose visual tools to help me implement concepts and ideas. I love the cabinets and tool boxes created by the The Viper Tool Storage Company. Therefore I chose one of their set ups to be my virtual financial survival toolkit. Many of my real tools are based on my own experience. Some are based on ideas and tips I have gathered on my financial survival journey. There may be resources that you already use. Other tips and tools may be new, hopefully useful suggestions. I also welcome any input and suggestions you may have. Please enter them in the comments section.
I keep an overview of my monthly finances at all times. This means that I monitor my income and expenses with the benefit of online banking, automatic bill paying and computerized bookkeeping. It includes payment of most of my bills by autopay after my monthly income becomes available. There is a flow to all of this. It has taken me some time to create a system to coordinate the ins and outs of it. Sometimes I feel like a juggler. At other times, I still feel like a beginner.
When I attempt to read a book, it is usually like climbing a mountain. I struggle through each paragraph like a mountain climber attempting to secure his footing to take the next step. Unlike a mountain climber determined to reach his goal, I usually give up after a few pages. Sometimes I will breeze through with what I call ‘the fan approach’ stopping at pages along the way. Sometimes I just take a look at the small type and quit.
‘Never Give Up Without A Fight, One Man’s Battle to Survive Leukemia and the Music Business’ is that once-in-a-great-while experience I have when I read a book. I can’t put it down.
Then I asked myself, ‘is it because I know the author, Lee Heiman since seventh grade in Long Beach, New York and was curious about his life since high school? Or is it because the book is so damn engaging?’ I confess, it may be a combination of both. But only a reader who does not know this driven, risk taker will know which it is.
A Mesmerizing Story
I think that everyone will be mesmerized by this story. Lee’s indomitable spirit exhibited through his six month hospital stay, his continuing survival from incurable cancer as well as the enviable brass with which he has also faced the music production entertainment business are all fearless and admirable qualities Lee possesses. He does not withdraw from opportunities or challenges. I was so taken by his story that I told Lee I had to write something about it to let everyone know about this mesmerizing story. The words, ‘a book review’ came out of my mouth. He gladly agreed.
The Challenges of The Music Business and Leukemia
Lee’s book seamlessly weaves a single cloth from these two major parts of his life’s journey, his experiences in the music business and his battles with incurable leukemia. It is as if one cannot exist without the other. Lee approaches both, with equanimity. He displays amazing courage and exhibits a perseverance against all odds. These are integral to his character. He faces life, good and bad, head on.
Never Give Up
Lee approaches surviving his illness with the same tenacity he approaches the music business. He gives it his all and fights as hard as he can. The odds have not always been good. Anyone in their right mind might have given up long ago just like I usually do with reading books, declaring it a losing battle. But Lee has not. This is not to say that in both areas of his life, he has had only successes and no setbacks. He still experiences ups and downs. But he never gives up.
Why You Must Read This Book
You must read this book. It will renew your faith in whatever you believe in beyond yourself or instill a faith you may never have had. How he survived and continues to live with an incurable disease is a miracle. It is a miracle that is fueled by a spirit that just won’t quit.
It is an honor to know Lee and to have the opportunity to write this book review. Lee is a man of substance, depth and keen sensitivity. I never knew that part of him when we were in school together. But perhaps both the fire of his adulthood and his life’s battles have set these qualities in him like ore becomes steel. It is what keeps him going. It may help to keep you going through your own challenges in life. Be sure to read, ‘Never Give Up Without A Fight’ by Lee Heiman. You will be inspired by it and feel glad you read it.
Do you know what synesthesia is? Do you know anyone who has it? Are you a synesthete? I have synesthesia. I have had it since childhood. I have always considered it to be a fun game I could play in my mind, seeing numbers in specific colors. I can sometimes still experience a correlation between days of the week with colors and numbers,too. I never told anyone about my ability until recently. I had no idea that it was unusual, had a name or was an actual brain function that some other people experienced as well. At least one in 2,000 people have this neurological phenomenon.
Wikipedia description of synesthesia
“Synesthesia (also spelled synæsthesia or synaesthesia; from the Ancient Greek σύν syn, “together”, and αἴσθησις aisthēsis, “sensation”) is a neurological phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. People who report a lifelong history of such experiences are known as synesthetes.
In one common form of synesthesia, known as grapheme-color synesthesia or color-graphemic synesthesia, letters or numbers are perceived as inherently colored. In spatial-sequence, or number form synesthesia, numbers, months of the year, and/or days of the week elicit precise locations in space (for example, 1980 may be “farther away” than 1990), or may appear as a three-dimensional map (clockwise or counterclockwise). Synesthetic associations can occur in any combination and any number of senses or cognitive pathways.
“Little is known about how synesthesia develops. It has been suggested that synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time. This hypothesis – referred to as semantic vacuum hypothesis – explains why the most common forms of synesthesia are grapheme-color, spatial sequence and number form. These are usually the first abstract concepts that educational systems require children to learn. Only a fraction of types of synesthesia have been evaluated by scientific research. Awareness of synesthetic perceptions varies from person to person.”
Part Five was written by me, Alison D. Gilbert, The New York Graphic Design Examiner. It was published by the Examiner.com on January 22, 2012
THE CHARETTE NEW YORK CHRONICLES
The articles previously published here about The Charrette Corporation in NY detailed its history starting with its humble beginnings by architectural graduate student, Lionel Spiro and later, with Blair Brown an under classman. It literally began in a supplies closet at the Harvard Graduate School of Design (HGSD). The inspiration behind its beginnings was one of necessity. At that time, there was no single store in the Boston area where a design student or design professional could acquire all the supplies needed for a project.
Since it was the nature of design work projects to be done in ‘charrette’ (working until a last minute deadline), time was always of the essence. So the idea occurred to entrepreneurial Lionel, to gather the needed materials in bulk and sell them to the other students. To say that the idea caught on is an understatement.
Neither Lionel nor Blair had ever intended to become anything but architects. Lionel graduated ahead of Blair and got a taste of the life he thought was his calling. But time proved otherwise. So when his friend Blair graduated from HGSD, Lionel asked Blair if he wanted to go into business with him. Again, the idea was a natural since no single store still existed to serve the needs of designers.
Lionel found that he could be of greater service to his beloved field of architecture serving the designers themselves than potential architectural clients. It seemed like a good idea to Blair, as well. Thus Charrette came ‘out of a supply closet’ to become a full-fledged business.
OUT OF A CLOSET AND INTO A STORE
It started small but before long the founders realized how wide spread the need was that they had identified as students. What to call the company was a ‘no-brainer. ‘Charrette’ said it all to any design student or professional who needed a design supply or tool, right away. Their first retail destination was Boston.
After a short time, Lionel decided to take on the NY Design world. This covered graphics, architecture, interiors, fashion, theatre, etc. Any discipline that needed a straight edge, a drafting board, tape, markers, Letraset or any of the top quality supplies that could be found in the Charrette treasure chest.
CHARRETTE COMES TO NEW YORK
Charrette’s New York beginnings were humble architecturally, two consecutive stores in midtown on the East side. Neither was a show place but the clientele were the glitterati of New York. There was a constant stream of Broadway and film stars to add to the crème de la crème of the graphic design, architectural, interiors, fashion and other types of design firms in and out of their doors.
NEW YORK LOVES CHARRETTE
Such a clientele needed the right setting, backdrop, environment to reflect not only who they were but what Charrette represented and what there was to see and purchase. The store needed to be set up more like a Tiffany’s displaying Charrette’s tools like fine jewelry behind glass. Each customer would be greeted, often by name, by a sales person escorting him around and waiting on him or her from start to finish.
THE CHARRETTE NEW YORK CROWNING JEWEL
HGSD classmate and native New Yorker, David Paul Helpern, was chosen for the challenge of creating the NY Charrette Crowning Jewel, the ultimate NY Charrette store. Everything was custom made, the woodwork, the special cabinetry, the floors, the ceilings and the lighting. All were made from the finest materials and to exacting specifications. The store could be used for nothing else. Everything was retrofitted for the superior line of design tools that Charrette fashioned and sold. The entire store was designed like a ‘last’ for custom pairs of designer shoes.
THE CHARRETTE OPENING WAS GRAND
The store had a catered affair for the Grand opening. Charrette’s NY Crowning Jewel was featured in several magazines. It is possible that the entire Charrette culture became a template for other chic boutique style stores that followed by selling things that would not normally be displayed this way or offer the kind of service that was offered for what others might have designed and considered mundane. But there was never anything mundane about Charrette.
THE FOUNDERS AND THE ARCHITECT
It is with extraordinary gratitude that this author has had the opportunity to interview primary sources for this entire series. My utmost thanks go out to both founders, Lionel Spiro and Blair Brown for their time, patience and even samples of Charrette supplies, materials and catalogs.
Also, a special thank you goes to fellow New Yorker and architect, David Paul Helpern for sharing his memories as the architect of the Charrette NY Crowning Jewel built at the corner of the East 30’s and Lexington Avenue in New York.
THE CHARRETTE STAFF
There are also countless staff members who worked in the retail stores, at the headquarters in Massachusetts and in the field on the commercial side in numerous states. Art directors, who created the immaculate design materials and displays that always arrived at each store with very specific instructions on how they were to be assembled, shared their stories. Interviews have also been held with former customers whose memories and memorabilia, were lent, sent and photographed for this series.
THE FIRST CHARRETTE STORY LINK
Although I have not mentioned any of the staff by name for fear of leaving someone out accidently, each knows who he or she is, as my thanks continue to go out to each member for the joyful experience of sharing stories. But I must mention one person who, before this series could begin, was found on a Google search for Charrette. He is Stephen Dill, a former employee. I found him on LinkedIn. Charrette was on his resume as a job link. Thanks to him, every person in this story, including the founders, was able to be located. Thank you, Stephen.
THE LINKEDIN CHARRETTE ALUMNI GROUP
A LinkedIn group was set up by and for Charrette Alumni. It is open only to this group of former employees. My thanks also go out to Jack Skidmore and Mark Levitan, its founders, for allowing me to become an honorary member and for their fond memories as well.
It has been an honor and an experience of a lifetime to spend a period of many months compiling all the materials and interviews that have gone into these articles. May they in some small way pay tribute to an outstanding NY (graphic and other types of design) institution and be part of the legacy that Charrette contributes to the NY design scene.
LINKS TO THE CHARRETTE CORPORATION CHRONICLES: PART ONE THROUGH FIVE
Part Four was written by me, Alison D. Gilbert, The New York Graphic Design Examiner. It was published by the Examiner.com on February 21, 2011.
THE CHARETTE NY CREATIVE CULTURE
The historical digs for the Charrette NY stores unearthed an abundance of artifacts and details. The process leading to the creation of their flagship store at 33rd & Lex, and the story since make it apparent that this chronicle needs and deserves to include every gem encountered along the way.
From interviewing several primary sources, a single article has evolved into a series with no sign of wanting to end. Unlike Charrette NY, which did conclude after 20 years as the premier place to purchase design supplies, its story is very much alive. There is even a Charrette Alumni Group on LinkedIn, with many members yet to be interviewed.
Stephen Dill was the first Charrette Alumnus discovered and interviewed. He arose from a ‘Charrette’ search on LinkedIn. He led the way to co-founder Lionel Spiro.
Mark Levitan started with Charrette straight out of school and rose through the ranks of almost every department over his 29-year tenure. NY architect, Rand Rosenbaum, AIA, worked in the NY stores in high school and then while at Pratt. He continued to order Charrette supplies from Cornell. Art Director, Johanna Bohoy, created award-winning graphics some of which are in the Cooper Hewitt Museum in NY and the Smithsonian in DC.
With each of these and interviews to come, Charrette NY jewels emerge. They provide a unique perspective adding color, charm, and even panache to the stores, staff and customers. A creative culture was born within the NY design scene that became a template for chic, boutique style stores that catered to a select group and are a NY signature.
The list of clientele was a veritable ‘Who’s Who’ of NY architects, graphics and all kinds of designers. It included a cast of celebrities and glitterati that make the Charrette NY story sound more like a Broadway event than a retail business. (To this day, that list remains buried like other artifacts were. It may never be unearthed.)
There is no doubt that place, time and cast were intimately woven together to create a shimmering fabric. It was a cloth that stretched from Boston to NY and down the East Coast to DC, and out to the Midwest.
The Charrette NY family history and genealogy still ache to be documented until every detail of its glorious life has seen the light of day. This creative culture was home to thousands of people who all played a part in its magical, rich and on-going tale.
LINKS TO THE CHARRETTE CORPORATION CHRONICLES: PART ONE THROUGH FIVE
Part Three was written by me, Alison D. Gilbert, The New York Graphic Design Examiner. It was published by the Examiner.com on February 4, 2011.
THE BIG APPLE
It was not long after its official birth in 1964 that the owners of the Charrette Corporation, a well-established New England design supply institution, realized the opportunity to spread its wings and expand. The need for their multi-dimensional approach to the sale of design supplies was not limited to architects or its Massachusetts borders. Between 1968 and 2002, Charrette opened a total of 26 locations in 16 states, as far west as Chicago and Detroit and as far south as Washington, DC. The need that co-founders, Lionel Spiro and Blair Brown, had identified as students and started in a Harvard Graduate School of Design closet, was not exclusive to architectural students but was viable for designers and students everywhere.
According to Lionel, who came to be in charge of the NY stores, “In 1967, the first NY store opened. It was located on the second and third floors of 139 East 47th Street. After a short time, the need for a better and larger location was apparent and the store moved to a brownstone building at 212 East 54th Street.
“Its showroom/store area was on the main floor and some storage was in the basement. By then, Charrette ran a truck from Boston to New York every night which enabled customer orders and store restocking to be done from its 125,000 square foot warehouse containing 36,000 different items. This enabled Charrette to accept telephone orders from customers in NYC up to 5:30 and deliver the orders with a 96% fill rate, the next morning.”
When the parcel of land containing the Charrette store on East 54th Street was demolished to make room for the ultra-modern ‘Lipstick Building’, the store had to move once again choosing a larger space at the corner of Lexington Avenue and 33rd Street.
The establishment of Charrette’s permanent New York home necessitated the skills of an architect to design their very own showplace from a barebones office space in the design district. For this task, Lionel turned to one of his Harvard Graduate School of Design classmates, New York based architect, David Paul Helpern. Mr. Helpern is still practicing and it was possible to interview him to learn more about the design and building of the showplace that was Charrette’s home for 20 years. Upcoming articles in this series will include excerpts from that interview and more about Charrette’s NY graphic standards.
LINKS TO THE CHARRETTE CORPORATION CHRONICLES: PART ONE THROUGH FIVE
Part Two was written by me, Alison D. Gilbert, The New York Graphic Design Examiner. It was published by the Examiner.com on January 14, 2011.
BORN IN A HARVARD CLOSET
Charrette did not enter the New York scene until a few years after its birth. It was actually born (although not yet named) in a closet at the Harvard Graduate School of Design. The idea was to house in one location all the supplies design students would need. This eliminated the need to take the time to travel to a dozen different locations to gather all the materials required for their projects.
As strange as the name Charrette sounds, anyone who has attended design school or has worked in a design office knows what a ‘charrette’ is. When students and professionals (particularly) in architecture stay up all night to meet a deadline, they say that they are “en charrette” or they are “charretting”.
The term came from the Ecole de Beaux Arts in Paris, which in the 19th century was the leading school of architecture in the world. When deadlines arrived, a CHARRETTE, the French word for wagon, would be pushed through the building and students had to place their drawings on the “charrette” or they would not be accepted.
Many students would actually sit or straddle the wagon as they signed their work or put down the last few lines. Students came to study in Paris from all over the world. When they graduated and returned home, they used the term “en Charrette” to define the last effort to finish a design project. This description applies primarily to the architecture and planning fields.
According to Lionel Spiro, since he and Blair Brown, the founders of Charrette, only planned to supply architects, they chose the name that they felt had special significance to their targeted market. However within a short time, Charrette was discovered by a succession of design professionals who used many of the same products.
Eventually manufacturing companies such as Raytheon, Ford, GM, and Chrysler eventually turned to Charrette for the majority of their design and engineering drawing needs. In addition, Charrette was discovered by hundreds of relatively small design offices within much larger government agencies in Washington.
Also included were structural, mechanical and civil engineers and later other engineers including electrical and electronic engineers. Commercial (graphic) designers, product designers and other creative people working at ad agencies, media firms and even television shows like Saturday Night Live became regular users of Charrette products as regular New York customers.
LINKS TO THE CHARRETTE CORPORATION CHRONICLES: PART ONE THROUGH FIVE
These chronicles of The Charrette Corporation first appeared on the Examiner.com, written by me, Alison D. Gilbert as the New York Graphic Design Examiner. This story includes primary research, most importantly interviews with the founders, Lionel Spiro and the late Blair Brown. In addition, many former corporate staff members, store employees and even customers all graciously gave their time to tell me their experiences and so many wonderful stories.
Examiner.com ceases to exist this month, July of 2016, five and a half years after I started writing for them. The Charrette Chronicles and other posts would perish without transferring them to my own blog. The Charrette Chronicles appears here as a series of five posts. This introduction, Part One, was originally published on December 10, 2010.
No story about Graphic Design in NY would be complete without at least mention of the establishments, new, old, and gone that have supplied the design industry with the many, unique tools it required primarily BC (before computers) and through the transition to AD (age of digital). In compiling a list of them, one store stood out so distinctly that it deserves an entire article, if not series of articles about it, Charrette.
So much research for this designer supplies institution has been accumulated that there is an entire ‘back story’ to this examiner.com series. It details the process of using the Internet to unearth materials and people. Many of them have been extremely generous in coming forward to share their experience and memories about this wonderful but extinct designers supply company that was founded in Cambridge Mass in the mid 1960’s.
This story is an attempt to go back in time and capture the years of glory Charrette held in the industry, in general, and in NY, in particular. It will include facts about its lifespan of several decades and some of the key players involved. It is a very moving story and one that any author can only hope to be worthy of writing.
Since the materials that have been so generously donated, lent and found on-line are still accumulating, this piece will serve simply as an invitation to the graphic memoir of Charrette, It had stores at three NYC locations. First it was on 47th Street, then on East 54th Street (before the brownstone building it was housed in was torn down to make room for the ‘Lipstick’ Building, Finally it was relocated to its homage to modern design, a frontage of glass and red metal in the design district, the East 30rds. How fitting a stage upon which to continue this story.
LINKS TO THE CHARRETTE CORPORATION CHRONICLES: PART ONE THROUGH FIVE
This series of blog posts about KNOLLING is dedicated to Andrew Kromelow who coined the term ‘knolling’ in 1987 and to Tom Sachs who expanded on the concept of knolling to ‘Always Be Knolling’.
I first heard the term ‘knolling’ around a month ago. I was fascinated by the term and started to research everything I could about it. I became somewhat confused because I could not discern if it was a systematic method of organization or an artistic technique also called flat lay photography or flatlays.
It seems to have started as the former and morphed into the latter over time. ‘Flatlays’ or ‘flat lay photography’ has nothing to do with knolling as a systematic method of organization. But from the way I understand these terms, they can be used as a record of knolling a set of objects. It can also be an art form of pleasantly laid out objects. It is presently and widely used on Instagram, tumblr and Pinterest. The purpose of using these social media applications is a popular means of graphic design layout or brand marketing as shown below. Instagram photos used in an article on Business Insider called, Everyone’s obsessed with ‘knolling’ their stuff and putting the photos on Instagram
The focus of this fourth blog post is to analyse the original process of ‘knolling’ used as an organizational tool. Specifically, it is about the process which I believe that Andrew Kromelow used to ‘bring order out of chaos’ in Frank Gehry‘s furniture fabrication factory where Kromelow worked. That resulting order prepared the staff for the continuation of a project or the starting of a new project.
I am finding that knolling is also a catalyst for creativity. This is my experience and what I would like to share. Just to clarify, the following video is not what I am writing about. My focus is not on flatlays or flat lay photography. But for information sake, this video, Making a Flat Lay Collage for a Campaign, Brochure or Magazine from StyleShoots by Matt Brasier, explains those terms and their current use.
The following video, Ten Bullets by Tom Sachs, does focus on knolling in great detail.
In my second blog post, I asked the question, KNOLLING: Can It Help Organize My Costume Jewelry Collection? In a word, YES. It can and it is helping a great deal. I am in the process of creating four boards so far:
• a board for my bracelets that holds 48 bracelets laid out in color order as an additional organizational system
• a board for about 2 dozen necklaces, again using color order as an additional organizational system
• a board for earrings
• a board for pins
I am also working on layouts for my hat collection and my purse collection.
The next things that happened was a spontaneous inspiration. Once I had created order out of chaos and could see my things neatly laid out in front of me, I experienced an epiphany. I felt the desire to commence making jewelry. I am not ever sure what the thought process was or if there even was one. I do have lots of broken pieces of jewelry which I hoped to repair some day. I also have a new piece that was missing some stones that needed regluing. The next thing I knew, I had retrieved my jewelry storage boxes from my shelves. I got out my glue and I started creating. I have already created two pieces of jewelry out of one piece and have plans for quite a few other pieces.