How much should you make to buy live comfortably in NYC?

by lisby1

I already live in NYC but I live the suburban area, not technically Manhattan.
I was looking into financial adviser/investment banker-type careers. Im still in high school but I want to start plotting ahead because I know that my parents would be ancient by the time Im in my mid/late 20s so I wanted to support for myself to the best that I can. Don’t call me stupid or materialistic or something but I want to buy designer clothing and nice apartment/studio…

Answer by Nina
atleast 150 000
the cost of living down there is expensive

Answer by princess
When you say suburban locality im guessing you mean any Queens or Staten Island because their are the only suburban boroughs i can reckon of. But i know certain parts of brooklyn and the bronx are suburban and no part of manhattan is suburban lol. but anyways its obvious that you dont want to live in the suburbs so im just going to show you nice neighborhoods in manhattan and the kind of public who live there. just basically go to the links.

high east side = http://www.zillow.com/community-info/NY-New-York/High-East-Side-public/r_270957/

high west side = http://www.zillow.com/community-info/NY-New-York/High-West-Side-public/r_270958/

chelsea = http://www.zillow.com/community-info/NY-New-York/Chelsea-public/r_276254/

gramercy = http://www.zillow.com/community-info/NY-New-York/Gramercy-public/r_273860/

greenwich village = http://www.zillow.com/community-info/NY-New-York/Greenwich-Village-public/r_195133/

west village = http://www.zillow.com/community-info/NY-New-York/West-Village-public/r_270964/

murray hill = http://www.zillow.com/community-info/NY-New-York/Murray-Hill-home-value/r_274627/

soho = http://www.zillow.com/community-info/NY-New-York/SoHo/r_270928/

in my opinion though i reckon you should any live in the high east side or west side or chelsea or soho because they have the best apartments and neighborhoods. plus since you want designer clothing then the UES or soho is just for you lol.

Answer by Duncan The Puppy
Well, nowadays, it takes around $ 150K to be “middle class” in New York City (see link, below).

Excellent luck!… ☺

Know better? Place your own answer in the comments!

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Chicago in December


Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Chicago in December

Photo By: 2LT Matthew Fitzgibbon

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of persons challenges was soldier morale. Recreational activities for off duty time would be vital. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. But, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, "Posters for National Defense." The directors confirmed "The Museum feels that in a time of national emergency the artists of a country are as vital an asset as men skilled in additional fields, and that the nation's first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…"
In May 1941, the Museum exhibited "Britain at War", a show selected by Sir Kenneth Clark, director of the National Gallery in London. The "Prize-Winning Defense Posters" were exhibited in July through September concurrently with "Britain at War." The giant overnight growth of the military force meant mobilization type construction at every camp. Construction was quick; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. "Results were astonishingly excellent; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished pragmatism and a remarkable ability to capture this scene from the soldier's viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the ancient romantic glorification and fake dramatization of war and the slick suavity (charm) of commercial drawing."

"In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, loved it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most vital, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid standard for conveying the Army's purposes and processes to civilians and soldiers."
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and additional places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plot was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, sundown recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The later program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program built-in; a show of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also built-in the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plot using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in coming up rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, monument and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and community communities helped to meet this cultural need, by as long as volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called "Interior Design and Soldier Art." The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, plotting and executing the soldier-artist program. The balance of the art sale proceeds were used to hold the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were life shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and coming up in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to "these restless personnel." A variety of small "Handicraft Kits" were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the "Arts and Crafts Section" of Special Services. The mission was "to fulfill the natural creature desire to make, provide opportunities for self-expression, serve ancient skills and develop new ones, and help the entire recreation program through construction work, publicity, and decoration."
The National Army Art Contest was plotted for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The "Infantry Journal, Inc." printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d'Amico, who was in charge of the Museum's Education Department, was quoted in Russell Lynes book, Excellent Ancient Modern: An Intimate Likeness of the Museum of Modern Art. "I questioned one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to ruin another business in my life, and I chose that art was the business that I would do." Another man said to d'Amico, "Art is like a excellent night's sleep. You come away refreshed and at peace."
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The "Handicrafts Branch."
In 1945, the War Department published a new manual, "Soldier Handicrafts", to help implement this new emphasis. The manual controlled instructions for background up crafts facilities, selecting as well as improvising tools and gear, and basic information on a variety of arts and crafts.
As the Army went from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as "Manual Arts."
At the same time, overseas programs were now employing community artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers' interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable earnings of communication between troops and their families back home.
When the war finished, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were agreed a new assignment: To develop a series of instructional guides for arts and crafts. These were called "Leisure activity Manuals." The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed "Leisure activity Shops." The first "Interservice Photography Contest" was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was apparent that the program title, "Leisure activity Shops" was misleading and overlapped into additional forms of recreation.
In January, 1951, the program was designated as "The Army Crafts Program." The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a "Basic Seven Program" which built-in: drawing and painting; ceramics and monument; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the "multiple-type crafts shop." For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960's, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers calculated as portable photo labs, and once again a "Kit Program." The kit program originated at Headquarters, Department of Army, and it proved to be very well loved with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 "American Crafts" magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was "a godsend."
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the first name of the program, "Arts and Crafts", was restored. In 1971, the "Arts and Crafts/Skills Development Program" was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program started charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-employment skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during "Project Transition" to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become "self-sustaining." Directors have been forced to find more ways to generate increased revenue to help foot the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990's.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the '90's Army has once again placed emphasis on meeting the "recreation needs of deployed soldiers." Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, monument, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must choose which materials and techniques to use, thereby engaging in creative conundrum solving and discovery) skills taught have military applications.
* a way to buy quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the creature psyche, an element of morale that allows for individual expression (freedom).
* the celebration of creature spirit and distinction (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared persons images with family and friends. Classes in "How to Use a Camera" to "How to Develop Film and Print Pictures" were instrumental in soldiers seeing the results of using quality gear. A excellent camera and lens may maybe make a huge difference in the quality of the print. They bought the top of the line gear. When they were discharged from the Army or home on place this new gear was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality gear may maybe make. Families and friends would not have had the opportunity to "see" the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, sou’wester, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts recovery by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April '95 issue of "American Demographics" magazine, an article titled "Generation X" fully supports that this is indeed the case today. Television and computers have greatly contributed to "Generation X" life more interested in the visual arts and crafts.
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I’m going to be a senior in high school in a Minneapolis, Mn Suburb. My prospect schools are: University of North Dakota, North Dakota State (NDSU), University of Minnesota, Duluth (UMD), and University of Minnesota, Twin Cities. I will be starting my four years off in the Fall of 2011. I’m trying to choose between 2(Maybe 3) Careers. First is a General Practitioner/Family Practice which I know also requires 4 years of medical school and 3 years of residency. That’s a lot of school (but does the pay out-weigh the long term school commitment?) Another career is Real Estate/Investments. I know right now is not the perfect time for this type of job but I want to buy houses and renovate them and make a profit (Real Estate Investor). If anyone may maybe also give any more career choices similar to these. I would like some pro’s and con’s on both of them and keep in mind I don’t plot on staying in minnesota. I plot to live in California( L.A. or Sacramento) or Utah(Provo). Thank you so much and all or any information is appreciated!
The 2 most vital things to me in a career are Flexibility and Salary, I want to make $ 125,000+

Answer by earwaxyness
Consider what you want out of life. Do you see yourself getting married early or later? Do you see yourself life able to stick out 11-12 years of school beyond high school or would a shorter term suit you better? Do you see yourself working in an office, making phone calls, going on appointments or do you see yourself in a hospital getting your hands dirty? Do you want a Monday to Friday 9-5 schedule or are you ok with working nights and weekends and holidays?

Answer by Night
Right now is a crappy time to be a RE agent, and I dont reckon its liable to improve. If you want to be able to really work I would recommend the medical field hands down. But you should also look into what is really involved in the jobs you are thinking of taking. Make an honest assessment of your strengths, and be especially brutal about your weaknesses. Make sure you pick a career you will really be willing and able to do. Remember too that there are a lot more medical careers than just a doctor.

Answer by dakotalover
You should shadow public involved in the two careers.

Are you excellent at science? Do you like it? Do you like public? Going into medicine at the physician level isn’t about the money until you have graduated and practiced for a few years — and that may have changed due to the biased winds by the time you end med school. Medicine involves life and death decisions, in addition to lancing boils. Is that what you want to be doing with your life?

Do what you like and the money will follow. Yes, even in these economic times, it just takes a small longer.

Answer by toni l
Here is my general answer to your question: reckon about this…

ANYONE, with or without an education, as long as they are willing to learn, can be a real estate agent…that’s the beauty of the business world. You may maybe start your own business with excellent insights and excellent knowledge (which may maybe be from experience, school, observation, mentors, etc).

But to be a doctor earnings to have knowledge (nearly unique and only to the doctors). Doesn’t matter how well you know the material, you can’t be a doctor without med school education, and pass the three USMLE tests…

As a real estate agent, you will be subjected to the exchange in the economy. As a doctor, you will always have patients…

Then there is the point about what you want in life, as someone mentioned before. Do you want a family early, etc. Also, what are you interested? Medicine is a long and hard road…

Add your own answer in the comments!
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