Ieithaf wrth gael y byd ac wrth gweithio ar y dyfodol Evertons, y dyfodol Evertons yma ym ni'r aelod diwrnod a mae nhw'n gwneud yn gweithio yn ysgafol y Dyn nhw. Yn arweinydd ym ni'n meddwl ystafodol wedi'i ei ddechrau i'r gweithio. Creg Shakespeare yn Sam-Ely. Ac rwy'n cael ei ddweud yn y dyfodol Evertons. Diolch ar hyn. Rwy'n cael ei ddweud yn cael ei wneud yn gyfrannu amdano Creg. Rwy'n cael ei ddweud yn gweithio'r gweithio'r gweithio. Rwy'n meddwl, mae'n amser byddwn ni'n meddwl i'r busnes yw'r hyn sy'n meddwl i'r cysylltu'r cyffredinol, mae'n meddwl i ddweud â'r cyffredinol o fewn gwirioneddau rhai, oherwydd, i wnaith y ffordd y pwynt mewn gwyrddau, mae'n meddwl i'r cysylltu, ond mae'n meddwl i'r pwynt mewn gwyrddau. Felly yn ni dweud i'r gweithio'r mwyaf, Creg? Mae'r ymdweud i'r peth, ac yn cael ei ddweud i'r ddweud i'r hynny, Mae'r rhai oedd y gallwn i'w arddangos arnyntio'r ddiwylliannol, rydyn ni'n blynyn i'r ddweud. Mae'r ddweud yn y gwrdd. Mae'r dda'r eich byd yn ei ddau. Roeddwn i'r ddweud o'r ddweud, a'r ddweud wedi'u sut iddynt i'r ddechrau. Rydym yn ei ddweud o'r ddweud o'r ddweud, a'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r treyning. Mae'n gweithio bod o'n gwneud o'r llwybr a'r Llyfr. Ie, mae hi, a felly mae'n gweithio. Mae'n gwneud o'n gweithio, iawn o'n gweithio. Mae'n gweithio yn ffrifio'r oed, mae'n cymddechrau sy'n 12 o'n gwneud o'n gweithio. Mae'n gweithio o'n gweithio, mae'n gweithio. Mae'n ffantastig o boi'r Stradwyr. Mae'n gweithio'n ffantastig a'r gweithio. A'r gweithio'n gweithio. Mae'n gweithio'n gweithio, Felly es i dros cyflawn o'r cyflwyno'r sgrifiadau sy'n deall? Felly yn ddod i'r ers hynny, dweud dros cyflwyno a'r sgrifiadau. Na'r nadir yma, i chi wedi'u cyflwyno, dwi'n ddweud hynny cwrs. Rwy'n braf i'r dashboard hy, eich 02. oes yn ymcofynig. Roedden i ddweud o'r cyflwyno'r sgrifiadau i ti lle. Efallai yma ei fyddai amgylchawd. Roedden i ddweud o'r cyflwyno ddim wedi wneud, Felly rwy'n gael gweld yn ymgallwch, ac mae ydym ni'n meddwl i'r cyflym yn ymgyrch yn ymgyrch, a'n mynd am ysgol, yn mynd i'n mynd i'n meddwl i'r cyflym. Yn ymgyrch yn ymgyrch, mae'n gweithio'n cael eu bodi'n meddwl. Yn ymgyrch yn digwydd yma? Mae'n bpeithio'r busiau i'r prymuatio'n gweithio. Cyn wych. Be'n gweithio, mae'n meddwl i'r wythrymu, ond yn fyddeigol, ond yn gweithio, ac yn gweithio, a mae fe'n wneud i gael.  Mae'r wasgwyr yn ymddangos yn ymddangos, mae'n meddwl i'r gwneud i'r gweithio'r gweithio'r gweithio. ty stepped to get the goal in the timing we did, in the manner we did Kaiff is on a lift but the clean sheet Was it an easy decision for you to have at the Football Club不会bi? Yes in one word yes Delighted to be back in football and in coaching again Important that the people in and around me Sammy's, the coaching staff I think Everton football club sells itself Mae'r adeiladau yn y llaw i'r rhywbeth, felly eraill mae'n cael ei ddweud. Felly mae'r cyfrifio arall wedi'u gweld a'r bod yn y bosion. Mae'r ddweud y gallai yn fwy oedd. Mae'r cyfrifio ar y team, efallai mae'r cyfrifio hynny. Mae'r cyfrifio efallai yma. Mae'n cyfrifio ar y team. Mae'r cyfrifio ar y team, felly mae'n cyfrifio ar y team. Mae'n ceisio i'r cyfrifio ar y team. dwi'n ei wneud y cyfnodd, oedd ychydig yn ddechrau'r cyfnodd, gyda'r cyfryd, mewn gwirio'r cyfrannu. O'r cyfrannu'r cyfrannu, oeddiwch yn cyfrannu'r cyfrannu. Rhywbeth eich bod nhw'n gweithio'r cyfrannu'r cyfrannu? Rwy'n gweithio hwnnw, mae'r cyfrannu yn gwlad ymddangos ymddangos ei wneud. Rwy'n gweithio'r cyfrannu'r cyfrannu, sgwrs, rwy'n gweithio'r cyfrannu, I gael, hen'r bosid yn barodol yn gyd ifanc oeddiwedd ac oedd yn gweithio'r ddeithasgol yw'r ddeitio'n gweithio'n dweud i wneud fyddai'ch cacol. Neud yn archifolion, dylai, yma'r sianol. Mae'n gweithio'n dod o'r ddechrau a'r ddechrau sy'n gennym, mae'n digwydd eich bod yn amser. Ac mae yw'r ddaeth yw'r cyhoedd y Laster City? Mae'n ddim yn fwy o ddweud o'r ddweud? mae'n ddim yn gweithio'n ddweud o'n gwahanol, Maen nhw kurio'n amddangos i unigiaid yr yw'r amser a ymddangos i ymdael. Tyope, ond y griforduad yng Nghymru yn y insistent, yn y media a'r cysyllt. Rydyn ni'n ei wneud am y Lleidol Cymru yna yn y Lleidol Pwyd. A'r brand o'r Lleidol Pwyd yn ystyried. Modd yn swyddiwch gwybod, a bwyd, a'r gyfwilio. Ond mae'n gydig o'r gweithgaredd wedi gwneud hynny, neu yw'n ei gwleidol. Does that all ring through with when you stepped into the breach yourself Sam? For 5 minutes? Obviously there's much more reason than I am. Everything's said is correct. The time that's placed upon the manager's hand, any of the manager's huge. That's why it's crucial. People behind him help him, he does very well at the delegation, very well indeed. That's crucial for him because then he knows that he can get on and do what he's doing. You got to deal with, and as Cll 🐾 sometimes it gets you away from where you really want to be. Which is the grass.   Massive, massive. My side is, as Cll 🐾 said before, you know, this game of ours is, it's all consuming, it's all consuming, and particularly in this city as you said before, you know, but now I'm really looking forward to it. And I think we all are, you know, again, Mae'r ddweud o'r ddau, mae'n fyddwch i gweld ddweud, mae'n fyddi, mae'n ysgolwyddo'n bwrth o'r gwaith bod mae'n gilydd o'r gwaith. Mae'n ddweud o'r gwaith o'r ddweud, Creg, yn mynd i gyd, gallu mae'n dweud o'r gwaith o'r ddweud? Dyna'r sysgau hynny, ond dw i'n meddwl, ac yn ymgyrch yn Eirton, mae'r gweithio ei fod yn y ddweud a'r gwaith yn ei gwrthol, Cael ei wneud, ond yn amlwgwch i'w hyn ac efallai yn ffordd i'r amlwgwch. Wedi'n dod o'r hyn, mae'n gwybod o'r rhan. Ond mae'n gwybod, mae'n gwybod o'r amlwgwch i'n gwybod. Dwi'n meddwl, am ymlaen, Samy'n rhoi, yn ymlaen i'r meddwl, mae'n meddwl o'r rhan, a'r meddwl o'r rhan, ac mae'n meddwl o'r meddwch i'r meddwl o'r dyfynol i'r gêm. Dyma eich postur doedd desiwn iddiwllan yn y tymprif y copiwn i'ch meddwl i'ch glostaeth, ydych chi'n ei gael eu lle i chi wedi'ch meddwl i'ch meddwl i'ch meddwl i'ch edryd, ei ddim yn gweithio y gallai profi a bydd yn ni i'ch meddwl i'ch meddwl i'ch meddwl i'ch meddwl i ymgynghwyl, ddyn nhw i 6, ac yn y telfoedd. Mynd ymmgyngor anhygoel â Siadwyr Cinerig, mae hefyd ni i'ch meddwl i'ch credu, Dyna'r rai oedd ydych chi'n gweld y gallwn cyffredinol. Felly, rwy'n gweithio yn cael ei wneud, ond dyna'r rai oedd wedi gweld y rai oedd y ddechreu. Mae'r rhai oedd yn cyfodol, rydych chi'n mynd i'n gwneud, i'n gwneud ffael i chi ddweud i ymddangos ymddechrau. Gwyddech chi wedi bod i'u gweithio eich gyfath o'r ysgrifiad? Roedd eich cei'n gweithio ar y dyna chi? Roedd eich cyffredinol? Roedd yn cael eu hoffi, Yna yn ymryd o'r rhan oaf, yn credu sydd wedi'u gyrfa wath o'r cwrdd, felly wnes yn facilities cael awr, yn ymryd o'r gyrraedd o'r 15 o'r 30. Efallai oswyl 30 wedi'u cynllun o'r cyjis a roedd wedi rhoi gyrraedd yn cael ei wneud. Ac mae'n angen o'r awr, mae hynny'n gwybod o'r rhan. Yn ymryd y mhwygof, mae'n angen o'r awr o'r cyf swiftly. Yn ni'n angen o'r ffrwyd o ffitwr o'r clwyboi. It is something that you notice in and around this football club as soon as you enter the building. You did some, how much your football coach believed Sam when you were still playing. I did a little bit that Calei said before at one of them. As a player you think you are going to play for ever. I am ffawr and think that doesn't happen. I have only ever been involved in football. I said before on many occasions, I do not consider this a job at all. At all this is the vocation that we are on. I hope it doesn't sound like grandiose, but you know I have people who work, and they work very very hard, they work tirelessly, you know, in difficult conditions. All it says here for me, this is more than a job, this is a vocation, it's something that I've always wanted to do, because I've always wanted to be involved in football. And it's important to you isn't it that people who work with you, people who work under you, the players, the staff, they come into work in a place like this, with a smile on their face, happy to be working forever at the football club? Yeah well you mentioned him, no one works under us mate, we all work together, we all work together. Obviously we have the boss, but you know for me everybody has a massive part to play in any football club, but certainly in this football club, massive part to play in getting the success that this football club deserves and merit. You both know the players quite well, some better than others here at Everton Football Club, how pleased are you to come here to Everton and find Wayne Rooney still on top of his game? Well I think if any coach has gone to any football club and found Wayne Rooney, I think we should be pleased, you know, because we know the strength of the character of the boy and the influence he has in any football club he's been at and he's got, he's massive, he's massive in as much as his influence on the place, you know and what he will be able to contribute and all that he has contributed to this football club, there's an awful lot more. And as a coach to come in and see him, see him in your dressing room, see him in the dining room, to see him around the place, it's massive, it really is, great help for us, you know and hopefully we can be a great help for him. The third goal was a bit special against West Ham wasn't it? Yeah, not many goals nowadays get me up off my feet, but with Wayne's technique execution I know it's been said and documented that he would probably be one of the only players that could do that. Can you coach that Craig or if you just got to hope that the players got the natural vulnerability to do that? He coached it, didn't you? Yeah, I coached it. He said it was him. Not when we're right for it, you never say no. I think in terms of technique and how you strike a ball, yeah, but to actually do the both and get it in between the goals as well was a great technique. I think you have to see it first. Yes. Not many people can see it. He's seen it, he was aware of it, he's aware of where he was on the park, he was aware of where the goalkeeper was on the park. So his total game awareness gave him an ability to be able to do that and then the execution after that. You're both still having a go in training just to show that you never lose it? No. No. And that brings us to the end of part one. Don't go too far away because in part two we'll go right behind the scenes from our trips to Cyprus and we'll hear from Tom Davis. Plenty more to come from Craig and Sammy ahead of the Merseyside Derby. Welcome back to part two of this week's Everton show. Now results in the group stage of the Europa League this season have been very disappointing. Our last fixture of Group E was earlier this week and it took us to Cyprus. We're in Larnaca here in Cyprus, myself and Snods, no more than a goal kick away from the sea and we're outside the meeting pub where our main sponsors Sport Pacer have arranged for all the Evertonians to gather before the game. We've just been in there, Snods, the atmosphere is terrific. Absolutely incredible to say that this game really means nothing. You try telling them Evertonians that have travelled over here in the numbers yet again, the atmosphere in there is electric, singing all Everton songs and that's what makes you proud to have played for this former club and it just makes you feel great to be an Evertonian. It really does because as I say things aren't going great in this competition but that says it all. That says it all about Everton in Europe. It's a terrific concept isn't it? It's a lovely pub right on the beach. Load of Evertonians getting together, having a few beers, a sing song before the game. And they're all in good spirits. They're all having a joke, laugh. They're going to enjoy the country that they're visiting. They enjoy the pub and they enjoy watching the football team and that's what they're here for tonight. Absolutely fantastic. Well that's the pre-match. Let's jump ahead now and get some post-match reaction. I thought the lads really applied themselves and first half played some terrific football and probably with a bit more care in the final third. Maybe would have scored more. Of course the opposition have chances. You expect that. But in terms of the overall result was the most pleasing thing. You don't get many headers do you? No it's my first header I think. Really? Yeah first header but yeah please. The second goal was a lot more like Adam Olo Lutman wasn't it? Outside the box rifled into the top corner. Yeah yeah. I like shooting so if I get a chance to shoot I'm going to do that. Were you pleased with the youngsters Fraser Holmby and Harry Charlesley had a lot of action? Yes and as you say I think they were a bit surprised they were starting and it's great. I think it's great for the academies. I think it's great for Everton in terms of gives everyone a bit of a lift. Gives the players themselves but the opportunity arose tonight and sometimes you never quite know when that opportunity is going to come your way in football and I thought to a man they took it. When you've got so many young players in the squad you need your senior players to lead by example and I thought they did tonight. Yeah I thought collectively the senior players were terrific. Of course some of them senior players as you say in terms of first team fringe players are only young as well so we had a lot of young players out there and the experience of playing in Europe everything but also the way they've conducted themselves the last two days is nothing more than I expect. Great the results in Europe this season have been poor for Everton we know that but the boss said after the game at the weekend that finishing at least where we finished last season is one of his targets which would get us back in to European football so it's something to aim for. I like that because I think sometimes we all hear nowadays that 40 points is the target but ultimately whatever game you're playing whether it be in Europe or in the league you aim to win it, you aim to win it and we all know that away from home sometimes it can be difficult and the owners is on the home team and sometimes you take a point away from home but ultimately you're in football to win football matches and the aim is to try and win the next game and then the next game after that and if that takes us up the league and into a position of Europe then brilliant because you've got a lot of good teams in the Premier League nowadays and the start it's made it difficult but of late we've had a couple of great results to give a little change to the environment so the aim is to win every game. Do you set yourself targets Sam either privately or to the players? You can only take each game as it comes it sounds very cliche but at the end of the day as we mentioned before yes we have a plan, yes we have a vision yes we have a target but I think they're all short term targets and for me I've always been brought up on time just getting what you can out of the next game you go well in the next game because it's just been proven the last two games you know we keep clean sheets, if you win games then the whole outlook is completely different so for me mine is more short term in the bigger picture if we can get clean sheets build upon that then this club can get whatever it wants to be but initially we have to set our target of clean sheets and moving on from there because we'll score goals Next up of course it's Liverpool and Anfield the Merseyside Derby at the weekend this is what Tom Davis thinks about going to Anfield What memories have you got growing up watching those matches? Will there be some good ones? Yes, few decent ones I always remember Michael at the scoring run from the edge of the box come out of the corner that's one that always sticks with me but I'd love to make a few in my home really and give the fans what they want Have you ever used to pretend you were playing the Derby to do a replay in those situations? Yes of course Who would you have been? Art Hatter A replay in those games What does it mean when you're playing the team from just across the park? It's a massive game obviously and Liverpool it's either you're red or you're blue and the game really it's just all about the city Derby and I think when you do when you do get that bragging right to the city that's what everyone wants and of course it's a game that we need to win really as you said we haven't won anfield in a long time so I'll definitely be up for that one with putting everything into it and getting the lads up for it Nothing quite like a Merseyside Derby Samers that's who we like the city Without a shadow of a doubt for me it is the biggest and all people may dispute that in other parts of the country but for me being from here it is the biggest It's an early Merseyside Derby for you Craig are you looking forward to it? I am I've watched it from afar never miss it when it's been live on telly as you say I think people from afar really look for it with interest being involved in it and of course being on this side it'll be really interesting but really looking forward to it People often say play the game not the occasion and it's very easy to say but I would imagine some it's a bit more difficult to actually do it is but I think you have to do that but at the end of the day and as a team we do it that best we'll come out on top the good thing that as you know about Derby is that they're very unpredictable which has always been both sets of supporters there with a belief that they can win and I think that's fantastic we're certainly going to go there with a belief that we can win and our supporters hopefully will be doing the same thing and it'll be what I have always experienced I think it's the team that settles down best settles down quickest we'll come out on top they're not the way they used to be though are they when people like Peter Reed, Steve McMahon people like that were thundering him you never know as I said it still is for the supporters you know what I mean at the end of the day we have to approach the game it's alright to say we're just like any other game but it isn't and as I said to you before it'll be the ones that settle down quickest the ones that stay in shape the ones that apply their game plan to the game I think they're the ones that come out on top and I think the supporters it's still very very very big for them it's a massive occasion you obviously didn't play in a Merseyside Derby but you played at Anfield against Liverpool in a league cup semi-final I recall I did many moons ago and just telling you I just took my driving test on the morning had to go to the manager going too slow not in the game I took my driving test to go to the manager and ask him for permission to take my driving test first then got on the bus and come up to Anfield and we drew 2-2 and Sam was just telling me he played but I really can't remember that he didn't take a seriously did he just didn't prepare properly he's all thinkable isn't he he's taken his driving test on the floor we're preparing there like it was yesterday to a certain extent of course we lost the replay but it was a great experience do you recall playing against Gaggy? you must do there's out plays John of course your first game as manager of Leicester was a win against Liverpool wasn't it the omens are there aren't they hopefully the omens are there take another win this time most definitely three points at stake that's what you've got to remember isn't it yeah it's a Premier League game massive massive for this city but as I said before it's a two two applies their game plan best the two gets the foot on the ball the two settles down quickest at the end of the day the three points but the three points are massive for both teams and we certainly want to be the team that comes out on top at the end of the 94 or 5 however long it may be Liverpool do look good going forward Craig don't they yeah offensively they're very good good counter attack team they're very resilient but we've kept two clean sheets in the last two games which is important again in terms of being resilient compact but also being a threat when we go forward as well do you ever not miss playing do you always miss playing every time there's a big game a little bit of your thinking which I was out there no of course you do you miss it every day but I think as Craig alluded to before the second best thing is what we've got which is coaching, working with young players keeping us young thinking hopefully of course you miss playing every day but as X players that's all you ever want to do you want to play as I said before and you think it's going to last forever I found out very early that I didn't but the next best thing for me is coaching and being involved with these youngsters and the big games it's a mercy side Darby it will be frenetic as Sammy says there will be nerves but you've got to look forward to it you've got to embrace the occasion you have to and I think as players you always will of course you want to make sure you form as an individual but we know now it's a collective team game as well it's important that the structure to it and the game plans taken care of but you know you're in a great industry a footballer what a life and you have to make sure that these games not only do you enjoy but the winning mentality has to be there as well it's one we're certainly looking forward to thanks enormously Craig Shakespeare and Sammy Leif for joining us this week thank you to you for watching as well in seven days time for another Everton you've been watching the Everton show on YouTube thank you very much indeed for joining us I hope you've enjoyed it I'm sure you have don't forget to subscribe and that way catch every single future episode


Hey, this is Brett, and this 2021 Ford Transit Connect is stock number 13566Z. I am here at Summit Automotive in Phan Lack, Wisconsin. You're new and use van headquarters. This 2021 Ford Transit Connect has the 2-liter dual overhead cam 4-cylinder engine, puts out 162 horsepower. This one has been fully safety and inspected by our service shop, has a fresh oil and filter change on the fluid tab and checked and topped off, and it is 100% ready to go. I'm going to go all the way around in this video, inside, start it up, take a look under the hood and give you the most accurate representation of the van that I can.  So if you have HD capabilities on your computer, tablet, smartphone, or television, I recommend turning them on now, because it is your best way to check out the quality, condition, and of course options and cleanliness of the vehicle before seeing it in person. As you go down the driver's side here, doors and rear quarter all look really good. That ain't seen any dents, that ain't seen any dings, front fenders in great shape. If you like the video, you can subscribe to my YouTube channel, which is youtube.com slash Summit Auto. Click the bell notifications and you'll get updates on the videos I do each and every day here at Summit Automotive. This one comes with the steel wheels with the painted covers on them. It has continental pro contact tires. These are 2, 15, 55 are 16s, and I would say they have a good amount of tread left on them, probably about 60 to 70% of the tread left on there. Once again front fenders in excellent condition, didn't see any dents or dings on there. It does have the factory fog lights, and the front bumper is in very nice condition. I didn't see any dents, dings or cracks on there. The grille is in really nice shape, and I didn't see any dents or dings on the hood. Really nice condition on this van. This is a one owner clean title history out of Utah. Clean car facts as well. The passenger side front wheel simulator is in nice shape, and as you go down this side of this 2021 Ford Transit Connect, take note of how clean the body is, how reflective and mirror like the paint is. I take these HD videos so if you are far away or even if you're close by and you just cannot make the trip down, but you're still interested in purchasing the vehicle, you can see the van, hear the van, and have confidence in the vehicle that you're looking at before you even get here. So when you do get here, there's absolutely no surprises, and you can make a smart and informed buying decision from wherever you're at. If this video helps you make that buying decision, let your salesmen know that you saw the video that was helpful and that Brett sent you. Back tire has just as much tread as the fronts. It does have the capitalist fuel fill, which is really nice. Coming around to the back, the rear bumper is in great shape. It does have the backup parking sensors. The rear doors with the windows, these doors open up like so, and I believe you can open them up even more just by hitting that. There we go. Just got to press that button there, and then they can open up that far. Same thing with the other side. Back storage area, these seats do go down somewhat flat, and it's kind of hard to do with one hand, so I can't really show you that. But very nice and clean back here. That's why they have these pieces on them so that when they are flat, everything is nice and flush. And then you can get these doors closed. This had the rear defrost, shuts very nicely. Coming around to the driver's side once again, this back wheel cover is in nice shape too. No major scuffs or scrapes, and once again down the rest of the side, didn't see any dents or dings. This one does have blind spot monitoring and blind spot mirrors.  You get the bucket seats in the front. There are no rips. There are no tears on these seats. Smells very clean inside. I don't think it's ever been smoked in, and you get a power driver's seat. Factory floor mats, auto headlamps, power windows, locks, and mirrors. These mirrors do power fold in. I think the power's got to be on for that to work, so I'll show you that in a second. I'll show you the second row seats. This one does have the second row bench seating, and you can see that the second row seats are in nice condition. It does have the latch child safety system for any child car seats you may have. It also has a 110 volt, 150 watt plug-in, 12 volt power point, and rear air controls. You can see you do get factory floor mats back here, and the second row seats, they do kind of slide up like so to get to that third row bucket seats. So what these actually do is this seat comes up like so, and then that seat folds down, and then that's how it's kind of a process to get those nice and flat, but that's how that works. Then these seats, you gotta grab the strap, put that back into place, then it snaps down, and the seat goes up like so. Side current airbags as well, and those doors slide nice and smoothly. We'll hop inside, check out the miles, the radio, and everything that this van has to offer on the interior. See that this one has the digital speedometer and some of the cluster is very nice and clean. You do get an outside temperature display, 14,263 miles on this van. It comes with the multifunction steering wheel, cruise controls, and information center controls on the left, and Bluetooth and audio controls on the right. You get these sync touchscreen radio, you get AM, FM, and serious XM radio capabilities, as well as Bluetooth capabilities, you have all your different settings on here, has Ford Pass Connect, Android Auto, Apple CarPlay, so you can project your cell phone to the screen. Nav systems such as Waze or Google Maps on your phone projected to the screen, then it's like you have nav right on the screen. You can see this is also where your backup camera shows up, and that is working nicely, and I did wanna show you that these mirrors do power fold in. I always like showing both sides so that you know that both sides are working properly. Automatic transmission, dual climate controls, down here you get two USBs, also has traction control, start, stop capabilities there as well. Passengers side format and seat are in excellent condition, once again I don't think this fan has ever been smoked in, and the headliner is in fantastic condition. You get map lights up there, we'll start it up and take a look under the hood. Starts right up, no check engine lights or anything like that. I would personally like to thank you for checking out the video today, and hopefully from this HD video you've been able to verify the quality condition options, and of course, cleanliness of this fan all the way around, inside and out under the hood. We have a 2 liter dual overhead cam for cylinder engine for 162 horsepower, and the base very clean runs very smooth. Then once again this fan has been fully safe and inspected by a service shop, has a fresh oil and filter change, all the fluid tab and check pan topped off. There is the emission sticker, and this fan is 100% ready to go. I would highly recommend this fan from a quality and condition standpoint. I'd ship this one to California, Texas, Florida, New York, wherever, whoever is going to get it is going to be very happy with the quality and condition on it. And to see more pictures of this fan or one of our other 550 new and used cars, trucks, SUVs, minivans, Wranglers, half tons, three quarter tons, one tons. You name it, we've got to go to that website right there, summitauto.com, full pictures and descriptions of every single vehicle from two locations, all at summitauto.com. If you'd like to check out more HD videos, you can go to youtube.com slash summitauto. Remember to like, subscribe, and share on this video and all the videos that you see there. In fact, in a second you will see a link to subscribe to my YouTube channel in the upper left. The links more are transit vans I've done in the other upper right, a link to this vehicle on our website in the lower left, and a link to one of our latest YouTube videos in the lower right. Click those, check us out, and we're super excited to help you with this ultra clean 2021 Ford Transit Connect in frozen white clear coat. Thanks again for checking out the video. Remember to like, subscribe, and share on the YouTube channel. I really appreciate it. Thanks again.


Welcome to the Knuckleheads of Liberty. Something you said earlier, though, you talked about bravery, and how brave some people say this is to come out like this. But you know, to me, this is not a story of bravery of that individual. This is a story about the cowardice of the crowd. I mean, the idea that we're all sitting here and we're watching this injustice is being done toward women, girls who've gone for decades, who have trained to compete in these sports, trying to get scholarships and succeed in other ways professionally.  I would pay money to be a fly on the wall at these female competitors after the race when this guy blows everybody away. I would love to just listen in on what they're saying to each other in private about this Leah Thomas. And hear what they have to say. I bet that would be fun, fun, fun. But now I think this is cowardice on this Leah Thomas. This is someone that just can't win against men. So, hey, I got an idea. I'll just pretend to be a woman. I'll still get to date. I'll still get to show off my junk.  I mean, you get to see them naked. Where's the downside to this? Where's the downside? I'm thinking, where's this downside?   And should this whole thing ought to be thrown out, disqualified and give the second place person the victory and accolades and go from there. And just stop this. This is not working. But the thing is though, even these so-called transgender activists know that there's something wrong and unfair going on here. Look around the sports world. Where do you see a transgender boy competing or transgender man, I should say competing in male sports and actually blowing the competition away? Where do you see that? You don't ever see that one because the biology cannot support him or who competing against men. Okay? But nobody want to talk about that aspect of this whole little game that everybody's playing. As a matter of fact, this Leah Thomas or a male swimmer at the University of Pennsylvania was never doing very well. But all of a sudden, Leah Thomas emerged and Leah Thomas is blowing away the competition. Only that the competition now is female, biological female. No, I'm shocked. I'm shocked he didn't have a stellar record against the males. You really shocked me there, Leon. And so just to make sure I understand your example, you're saying you don't see transgender women that became men competing against the men. Is that what you're saying? Okay. Yeah, yeah. I guess. Well, maybe, no, no. Wait, Leon. Maybe we do, but we don't know about it because it came in last.


Dear students, in this module, we are going to discuss the dysfunctions of bureaucracy. In our previous module, we talked about different key characteristics of bureaucracy. However, while understanding the bureaucratic structure, not every characteristic makes it more and more functional for the society. There are certain dysfunctions as well. Let us first see its formal definition that bureaucracy can sometimes produce negative outcomes or unintended consequences. In any work organization, the bureaucratic structures are not just positive outcomes, but also negative consequences. Sometimes they are intentional and sometimes they are unintentional. For example, inefficient decision-making, red-tapism, bureaucratic delays, lack of responsiveness to public needs. So, the process of inefficient decision-making is something like this. When bureaucratic organizations over-reliate on written rules and they become less pragmatic towards the existing situation, there may be situations in which they are pragmatic and have to take such decisions on a rational basis that may not be according to the written rules. But since they are bound to follow the written rules, therefore, inefficiency is created in them. Similarly, the red-tapism or formal maintaining the hierarchical structure is something that cannot be done from the top until the bottom and your file may take months to process because the hierarchical structure in the decision-making process cannot be breached. As long as the people sitting on formally established positions do not go ahead with the process, the process will continue to be delayed. The lack of responsiveness for public needs is also very important in this regard that public needs are subject to change. The written rules of bureaucracies are sometimes very obsolete, very old, they are also above the decades. And because of this, due to the absence of up-to-date written rules, which are updated or current existing scenarios are produced, modern needs are created, they are not able to tackle them. Due to which not only inefficiency comes, but there is no mechanism to tackle public needs. So, looking at the functions of formal organizations, when we look at its dysfunctions, we see that if bureaucratic structure doesn't update its rules and processes in time, then these inefficiencies can be created. Then there are different causes of these dysfunctions, for example, rigid adherence to rules and procedures, like we said earlier that formal written rules are very important that sometimes make these organizations more and more ritualistic, for example, more and more rational. So, when we talk about rationalism versus ritualism, then bureaucratic organizations, they are more ritualistic as compared to being more rational. Then lack of accountability or corruption also makes these formal organizations dysfunctional. For example, we take very clear examples of this in Pakistan, let's see how lack of accountability or corruption makes these bureaucratic organizations more and more inefficient, in which personal benefits are more important than public good. What can be the implications of this? What can be the after effects? Bureaucratic dysfunctions can undermine the public trust in the government and can lead to negative impact on the society. So, as you can see in Pakistan as well, the bureaucratic organization that faces corruption charges and its inefficiency becomes very clear, people become aware of it, that without corruption or without any approach, which cannot be done, the biggest implication of this is that they lose the trust of the public. When the bureaucratic organization loses the trust of the public, then the public develops a negative consequence in the government organizations. They develop a negative feeling or opinion. In this way, the formal organizations need to maintain their public trust so that the existence of these organizations is maintained.


Good evening everyone. Welcome. I'm Ruki Nuhal Ravikumar, Director of Education at the Cooper Hewitt Smithsonian Design Museum and it's my absolute pleasure to see so many of you here today. At the museum it is our goal to inspire, educate and empower people through design. I'd like to offer a special welcome to all of you members of the Art Deco Society. There's so many of you here today. Welcome and also a special thanks to Megan Weatherby. If you're there in the back if you would wave so we can thank you for making this possible and partnering with us. December is a terrific time to be here at the Cooper Hewitt. I would suggest that you keep track of what's going on because we have a lot on the calendar for December. For instance on December 11th we have Sarah Coffin, our recently retired head of the Department of Product Design and Decorative Arts. She returns to the museum to share her insights into the culinary history of the Sir to the Tabla which I hope everyone had a chance to enjoy upstairs in the exhibition Tablescapes, Designs for Dining. And on December 14th we will open the Road Ahead Reimagining Mobility in the Barbara and Morton Mandel Design Gallery. It is a future-focused exhibition featuring faulty projects and proposals for more sustainable and equitable urban environments and means of transport. The exhibition will be catalyst for conversations about how we might move people, goods and services in the future. During the holidays if you have family visiting and you need to keep people's hands busy and minds occupied we have several hands-on design workshops for visitors of all ages between December 24th and December 28th. Don't forget about Cooper Hewitt's shop for your holiday gifting needs and maybe even consider gifting yourself a membership to the museum if you aren't a member. But today you're here to listen to Marilyn Friedman. She's born and educated in New York, she's a design historian, a dear friend of Cooper Hewitt and a trustee. Her work focuses on the development and popularization of modern design across America during the 1920s and 1930s. Her first book was published in 2003, Selling Good Design, promoting the early modern interior. But the focus of today's talk is her new book, Making America Modern, Interior Design in the 1930s. As the title suggests, the book chronicles the development of modern interior design in the United States in the 1930s. With archival images and detailed descriptions, this book presents more than 100 interiors by 50 designers and architects including work by design luminaries Donald Deskey, Cedric Gibbons, Tommy Persinger, and several others. The designers of the 1930s had in common a determination to forge a contemporary style rejecting the revivalism that had defined America during the 19th century. They drew their inspiration from diverse sources such as Art Deco, the Bauhaus, the Viennese Secession, Shintoism, and Streamlining. And they embraced new concepts in construction, material, and style. This book features more than 200 photographs and renderings of private commissions, model homes, exhibition displays that span the economic spectrum from those created for wealthy patrons and to those designed with affordability in mind. I do hope you purchased the book in our shop today and if you didn't there will be a book signing and a reception following this event and the shop will be open for you to buy a copy. But to tell you a little bit more about Maryland I'd like to invite my colleague Stephen Van Dyke to introduce her. I'm here actually representing the Art Deco Society and also the Cooper Hewitt because I work here. But I wanted to point out on your chair you have a fabulous new issue that the Art Deco Society has brought out it's called Art Travel Issue and you should take that home with you, enjoy it, great pictures, great things of places you want to go to that have Art Deco in them. The second thing is I know you're going to be busy with the Cooper Hewitt but we also have many events for you as well and you should take this brochure. There is terrific things that are happening at the Art Deco Society and you should also consider whether and looking at this third handout whether you want to become part of the Art Deco Society it's a fabulous organization for all kinds of people scholars collectors and whatever and it does encourage us to look at New York City the greatest Art Deco treasure in the world. So do take this consider being part of our group we do fun things as well. Now to Marilyn. It is my great pleasure to introduce Marilyn Friedman a design historian who I've met a dozen years ago or so when she was a student here at the Parsons graduate program here at Cooper Hewitt and from which she graduated in 2007. As you can imagine Marilyn was a good student. Marilyn was and continues to be a serious organized researcher a regular library user scholarly and articulate as a strong passion to learn and as we will learn tonight and a great deal to share her knowledge with people. Marilyn is a native New Yorker received an undergraduate degree from Cornell a JD degree from NYU before and boldly entering the world of decorative arts. She loves modern design of the 1920s and 30s and therefore she's a great friend to the Art Deco Society. She received the prestigious 2018 Michael J. Smith Art Deco excellent award in 2018 on her study of American design. Marilyn is a great supporter and friend of Cooper Hewitt and she serves as a museum trustee and is head of the collections committee. Her selling a good design promoting early modern interior published in 2003 is a good read and something that everybody should have in their library. Tonight we will celebrate the publication of her second book on the screen here which is also a good read and a visual delight. Marilyn this evening we'll talk about the development of design and interiors in the US 1930s. Please give her a warm welcome. Thank you very much for inviting me and thank you for those lovely introductions. Yes you're at the right lecture don't worry. Throughout the 19th century American interior design was largely derivative of older European styles. Greek revival, Rococo revival, Renaissance revival. Revival furniture predominated in parlors dining rooms and bedrooms throughout the country. This evening we'll explore how what you see on the screen evolved into what we term American modern design. While there was some modern design in America in the teens and early 20s the real catalyst for the evolution was the exposition of modern decorative and industrial arts that took place in Paris in 1925. The exposition was intended to encourage the development of new styles in France. Only those objects that showed new inspiration and real originality were shown. The US did not exhibit at the exposition but a commission appointed by then secretary of commerce Herbert Hoover spent several weeks in Paris inspecting the offerings and visiting designers atelliers. The concepts embodied in the exposition were disseminated in the United States in several ways. The commission issued a report on the exposition. Some American designers visited the exposition and brought back new ideas. Publications in the United States covered the exposition extensively and books and design portfolios featured the objects and interiors on display. Perhaps most important an exhibition of more than 400 objects from the exposition toured museums in eight American cities. The traveling exposition provided Americans with a counterpoint to historicism. The furniture featured was primarily representative of the French modernism that updated and simplified designs of earlier periods in France. This iteration of modern design which we now term Art Deco featured expensive materials and embellishments such as highly polished and exotic wood veneers and inlays of mother of pearl and ivory. The Paris exposition also featured work by other more of unguarded French designers but the traveling exposition did not. It should also be noted that Germany did not participate in the 25 exposition so Bauhaus design was not part of the exposition itself or of the traveling exposition. From 1927 to 1929 department stores all over the US promoted European and American modern design. The department store exhibitions provided designers with platforms in which they could experiment with new ideas and gauge the level of acceptance by the public. On the left is a bedroom design for Lorden Taylor very much in the Art Deco mode. In the center is a breakfast room designed by the Austrian emigre Paul Frankel for Abraham and Strauss in Brooklyn derivative of Colloman Moser's designs for the Wienerwerkstatte. On the right is a penthouse studio designed from Macy's by Swiss emigre William Laskas and Ilonka Karaz who came to the US from Hungary. The room which had a provocative color scheme of red, green, orange, purple, and yellow was an amalgam of several versions of European modernism. Karaz also participated in exhibitions by the American designers gallery which was established in 1928 to stimulate design in America and to encourage cooperation among American artists and artisans without competition from European designers. The gallery presented two exhibitions of modern interiors one in 1928 one in 1929 at its space on West 57th Street in Manhattan. At the second exhibition Karaz presented a dining room that seemed quite typical with a center table, a sideboard, a serving table, and eight chairs. To deal with constraints of modern apartment living however Karaz designed the dining room to morph quickly into a living room. The table was a gate leg table which could be folded up and put away. The influential critic Adolf Glassgold considered the room to be uncluttered by detail and reduced to the prime necessities of living without sacrificing the air of comfort lacking which quality no room can be more than a curiosity. To add some sparkle to the room Karaz Karaz included a copper tone mirror, a copper fruit bowl with copper and brass fruit, and a glass ceiling fixture enclosed in a copper frame. She also displayed a number of pieces of her silver designs manufactured by Payne Baker Company including a tea and coffee service, a pair of candle sticks, and a compote. The compote with interest derived from the interplay of geometric forms has become an icon of early modern design. Another icon of modern design made its appearance in a room by Donald Desky at the first American designers gallery exhibition in 1928. Desky was born in Minnesota and studied in the U.S. and Paris where he visited the Paris Exposition in 1925. Desky saw industrial materials as the wave of the future in interior design. In his man's room, which contained the functions of a library bar and lounge, Desky utilized aluminum, linoleum, cork, and vitriolite, a structural glass. Desky was designing for mass production. His recently formed company, Desky Volumer Associates, manufactured the two tables using vitriolite and simple strips of metal. These new furniture forms together with contrasting textures provided the interest in the Desky room. The matte finish of the cork covered walls and the pigskin upholstery contrasted with the gleaming aluminum ceiling and vitriolite tabletops. Pigskin also covered the side chairs which had aluminum frames. Aluminum strips edged the double top of the toolbar desk. The lamp standing on the desk in the corner in chrome plated metal and glass is the epitome of the zigzag modern popular in the 1920s. Museums also presented modern design. In 1929, the Metropolitan Museum of Art, which had partnered with Macy's in 1927 and 28 to mount exhibitions of modern design at the store, staged its own exhibition. The Met had held exhibitions of industrial design since 1917, but the early exhibitions featured copies of museum works rather than new designs. The 1929 exhibition featured contemporary room settings by American architects and designers. It brought credibility to the emerging modernist movement but also demonstrated the wide variety of approaches to modernism as exemplified in the three rooms shown. The bedroom channels French Art Deco. The metallic office brings to mind Corbusier's machine for living. The library with ornate cove decoration and simple wood paneling presents a middle ground. In many of these exhibitions manufactured materials like cast stone, bakelite and aluminum replaced expensive difficult to maintain natural materials like marble and silver. During the Great Depression, these kinds of substitutions would become very popular. For several years following the onset of the Depression in 1929, another professional association established in 1928, the American Union of Decorative Artists and Craftsmen known as AUDAC, carried the burden of promoting modern design. AUDAC, which had more than 135 members, sought to elevate standards in contemporary design and foster a definitive style. In 1931, AUDAC published a compendium of the work of its members and mounted an exhibition at the Brooklyn Museum that featured the designs of some 70 AUDAC members, including interiors. Two examples will give you a sense of the variety of the offerings. Donald Desky designed a guest bedroom with soft colors, curvilinear furniture, spary at comfortable seating and new materials in accent pieces. The asymmetrical dressing table incorporated a wood cabinet, a tall mirror, and two glass shelves that rested on a wood base painted coral and gold. The mirror and the glass shelves each had one curved edge that echoed the curved edge of the bed footboard. Much of the furniture reflects Desky's interest in Art Deco, probably developed when he visited the Paris Exposition, but the tubular steel-based occasional table in the foreground typifies the designs of the Bauhaus, which he also visited. An alternative to Desky's Art Deco-inspired bedroom was a living room by Paul Frankel, which contained a box-like bookcase and other furniture that reflected Frankel's continuing debt to Central European Modernism. A bedroom designed by Frankel for the exhibition better demonstrated his experimentation with other approaches to modern design. The curvilinear maple furniture had deep red trim and ebonized wood accents. The Frankel dressing table is an example of the debt American designers owed to France. You can see the similarities between the Frankel dressing table and those by the French designer Francis Jordan, taken from a portfolio of modern interior designs published in France. Publications like this one provided inspiration and ideas to those who had not been able to travel to Paris. In 1932, Audac members participated in a major public exhibition of modern design at the Philadelphia Museum of Art. Titled Design for the Machine, the exhibition was intended to point the way to the use of machinery for the objects of everyday life. Gilbert Rody presented a man's study in Philadelphia. Rody had been born, raised, and educated in New York City. In 1927 he spent time in Europe, primarily in Paris and at the Bauhaus. Rody's furniture presaged two important trends. Modular furniture, like the cabinets along the wall, also shown on the left, would meet the needs and desires of those who dislike the inflexibility of built-in furniture but appreciated the space, the space saving attributes of furniture designed to fit together. Bentwood furniture, like the Easy Chair, would be adopted by later designers such as Charles and Ray Eames because it could be produced economically yet appear graceful. Rody presented an interior in which no single foreign influence predominated, but the French influence was still strong in the early years of the decade, particularly in high-end residential projects. One example is the Santa Monica home of Cedric Gibbons, the art director of MGM Studios, and his wife, the actress Delores Del Rio, for which Gibbons designed the interiors. The sleek interior featured the angular patterns of zigzag modern. One entered the house through a small living room which had pale gray walls and a black lacquered floor. Most of the furniture was built in. A staircase with a metal railing led to the main living room on the second floor. The critic Brendan Gill described the staircase as having been designed by Gibbons so that Del Rio could be which guests by the slow and sinuous grace with which she descends it. I wish I could write that way. At the top of the staircase was the main living room with pale gray walls, black floor, red lacquer book shelves, beige carpets, green upholstery, and white curtains. Two massive bookcase-backed sofas dominated the room. The stepped ceilings of the room are reminiscent of those in a smoking room designed by Jean-Denan at the 1925 Paris Exposition which Gibbons had visited. The elements of the house, the casement windows, the simple architectural furniture, the stepped ceiling and moldings, and the plain fabrics were exemplars of Gibbons philosophy of modern design which mandated straight, simple lines. He implored his readers to throw out anything with a naturalistic design. If you have a lamp that has flowers twisted on the bronze base, hands holding a clock or vase, or something like that, don't give it away, destroy it. Don Aldeski also invoked Art Deco for his wealthy private clients. As in the apartment design, as in this apartment designed circa 1932 for the impresario Roxy Rothafell atop the newly constructed Radio City Music Hall. The walls of the reception room are paneled in cherry, intersected by polished metal strips. The golden ceiling adds to the dramatic effect of the soaring, gleaming walls. The interior architecture and the furniture, which combined highly polished wood surfaces with metal supports and embellishments reflected the continuing influence of the exhibits Deski had seen at the 1925 Paris Exposition. In this apartment for Abby Rockefeller Milton and her husband David circa 1933, Deski recycled some of the design concepts from the Rothafell apartment, combining metal with exotic woods. Note one of Deski signatures. The tabletop is lit from below, creating a soft glow for the centerpiece. The critic Mary Fountain Roberts, citing the walls and ceilings of burnished silver leaf and the draperies of white satin, declared the dining room to be a room of crystalline beauty. Another opulent apartment in Manhattan was designed by Joseph Urban and Urban Scott for the writer Catherine Brush. Urban, born in Vienna, trained as an architect. Scott, also an architect, was born in Utah, but had traveled widely in Europe and Africa. The apartment featured a double height living room that exalted symmetry and geometry. Rectangular niches and 10-foot diameter mirrors faced each other across the room, giving the whole room a formal Palladian effect. The living room borrows from both the Wienerwerkstatte and Art Deco. It was also notable for its color scheme. In contrast to the white walls and white marble fireplace, one wall was painted dark blue and the windows were draped in red velvet. Built into the niches, flanking the red velvet sofa on the right were bookshelves with interiors in red lacquer. The black carpet was enlivened with red squares. Gleaming metal outlined the niches, the fireplace and the mirrors. Like Donald Desky, Urban combined metal elements with highly polished or lacquered wood to create a sumptuous interior. In a more modest project, Joseph Aronson, a furniture designer and manufacturer, designed an apartment for himself and his wife Henrietta in Manhattan, circa 1932. Aronson was born in Buffalo, New York and was both an architect and a design historian. The small apartment was a laboratory for Aronson's design ideas. The long narrow living room served multiple purposes. At the entrance was a small dining area. In the center of the room, a seating area was dominated by a wide fireplace surround which concealed cabinets for storage. At the far end of the room, a sofa was encased in cabinetry that held a radio and a phonograph. By placing a sofa perpendicular to the fireplace and extending the radio cabinet into the room, Aronson not only created separate functional areas but also modified the occupant's perception of the room to lessen the tunnel-like dimensions. Aronson appears to have been influenced by both central European functionalism and a French focus on comfort and elegance. World's fairs presented an opportunity for modernist designers to promote their work. In 1933, the Century of Progress Exposition opened in Chicago with an exhibit that included 11 model homes. All featured technological advances in building materials, appliances and systems such as air conditioning and some presented modern interiors. Gilbert Rody designed interiors for an international two-story structure named Design for Living, a reference to the Noel Coward play of the same name which had opened on Broadway in January 1933. The house featured a large multi-purpose room, a concept that was becoming increasingly popular. In the living area, metallic elements were introduced in lamps, tables and the fireplace which was encased in an asymmetrical streamlined aluminum surround. Rody included a fireplace because he believed that emotional values were as important as mechanical ones in the design of a dwelling. A fireplace was not essential in a home with central heating, but Rody believed that Americans would retain a sentimental attachment to an open fire. Rody's views regarding emotional needs may help to explain his affinity for wood familiar to the public as the primary building as the primary material in the home with metal in an accessory roll. In the master bedroom, Rody created an elegant retreat in tones of gray and deep blue. The curvilinear bedroom furniture was wood with horizontal bands and poles of burnished chrome. The only other metal in the room appeared in clocks and light fixtures all designed by Rody. One can see the influence of French art deco in the case pieces, but the horizontal chrome bands, like the horizontal bands that embellished the fireplace around downstairs are artifacts of streamlining, an American concept. Another model home in the exposition was sponsored by the state of Florida. James Cune, owner of a New York City gallery, designed the interiors with Percival Goodman, an architect born in the New York area and trained in New York and Paris. Goodman viewed the designer as a combination of scientist and artist. He only used materials with real as opposed to sentimental merit, but like Rody, he took into account the emotional needs of his clients. The Florida Tropical Home reflected this dual philosophy. The living room included a fireplace, but as in Rody's living room, the surround was aluminum. The plan for the Tropical Home was not as open as the plan for Rody's design for a living house, but although the separate dining room was visible from the living room. The interiors of the Florida Tropical House did not survive the exposition's first season. In 1934, Marjorie Shorsch, an Illinois decorator, revamped the furnishings in a style she turned termed modernized Victorian. The 1934 version of the Florida Tropical House was the antithesis of modern design, but Shorsch was correct in her perception that modern design was not that popular. Modern furniture sales accounted for a very small percentage of the market in 1933. Most Americans were still buying reproduction furniture and furnishings. Nevertheless, the 1933 version of the Florida House, with its mixture of metal and wood in vibrant colors and openness, was a better harbinger of the future of the design than its successor. By 1933, critics were attempting to develop a vocabulary that would distinguish among the various strains of modern design. In December 1933, the decorative furniture magazine predicted the success of what it termed classic modern, defined as still modern, but tamed down to blend inconspicuously into the most traditional of backgrounds. In 1934, Bloomingdale's department store in Manhattan offered the public an opportunity to see this maturing version of modern design in room settings by Russell Wright. Born in Ohio, Wright had a background in theater design and metalwork. He embraced modern materials and machine production. Wright's furniture, with upholstered seating and modular cabinets enlivened with contrasting wood surfaces, epitomized the classic modern mode. Metal was largely confined to accessory pieces. In the setting pictured on the left, an armless love seat and two armless chairs are set in front of a fireplace. Cabinets incorporate both display space and storage. One of the wall cabinets serves as a bar. The large panel flips up and slides back to form a table for the display of Wright's aluminum barware. In another setting shown on the right, the armless love seat is flanked by two one-armed chairs to form a traditional sofa. The occasional chairs on the coffee table give this setting a more sophisticated look with references to Art Deco. In 1934, the Metropolitan Museum of Art again weighed in on the state of modern design. Its 13th Industrial Arts Exhibition was intended to exhibit modern design that could be produced in quantity and thus be affordable to the middle class. One room that met the goal of affordability and epitomized the evolution of American modern design from 1929 to 1934 was a living room by John Wellborn Root in collaboration with Montgomery Ward. Bless you. The contents of the room were to be offered in a Montgomery Ward catalog for a total price under $600. Given that this would be about $11,000 today, I'm not sure how affordable the furniture actually was. But one critic predicted that the inclusion of the room in the catalog would stimulate the production of modern design by introducing it in rural areas that otherwise had little or no exposure to it. This room in soft, neutral terms combined elements that were emerging as hallmarks of mainstream American modern design. The furniture was severe without ornament or inlays, but it had great flexibility. The cabinets could be configured in various ways. The sofa turned into a full-sized bed. The tables nesting in front of the sofa could be deployed around the room when necessary. A console table flanked by two side chairs could be open to serve as a card table or a dining table. The table next to the love seat housed a radio. This living room demonstrated that Root had moved away from the French art deco style that had dominated his design for the Metropolitan Museum in 1929, shown earlier. At the Met Show, Donald Desky presented a dining room in which he continued to borrow from art deco, but in a simpler, cleaner manner, reflecting his evolution as a designer. Desky's move towards simplicity and practicality can also be seen in his redesign of an old stable for Eleanor and George C. Rand in Greenwich Village in 1934. Eleanor was the daughter of Marjorie Merrow-Weather Post, so price was no object. In the cozy seating area, the fireplace was faced in black Bakelite edged in white lacquer. The curved walls were covered in cork, and the flooring was black linoleum with a linear inlay. Black Bakelite casing for the long sofa served double duty. With a touch of a finger, a bar emerged. I want to mention at this point that all the Desky images in the book, including the sketch you see on the screen now, come from the rich Desky archive at Cooper Hewitt, which I'm happy to say we're in the process of digitizing and cataloging. As part of the Rockefeller Center project, the Rockefeller family financed the construction of two apartment buildings intended for middle income individuals and families to stem the exodus from Manhattan by corporations and individuals seeking more up-to-date and less expensive homes. Nothing changes. To promote the housing, Nelson Rockefeller hired two architects to construct a full scale model of a four room unit in the Rockefeller apartments at 30 Rockefeller Center. The model opened to the public in June 1936 at a charge of 10 cents a visit and was visited by more than 25,000 people. Each apartment facing the street had a rounded bay that served as a dining area. The focal point of the living room was a large wood burning fireplace with a marble surround and a large tinted mirror above. The fireplace was flanked by low cabinets topped with frosted glass lit from underneath. The fashionably dressed woman is tuning a radio that is set into one of the cabinets. The classic modern style seen in the model apartment in Rockefeller Center found its way into private commissions as well. One designer who favored classic modern was Eleanor Lemaire, who had distinguished herself as a modernist designer in Los Angeles before migrating to New York City in the early 1930s. Most of her work was commercial. She was for many years the chief designer from Neiman Marcus stores. Lemaire's focus on color as a design feature was evident as soon as one stepped out of the elevator into this Manhattan apartment entryway designed in 1934. The walls were painted white with a red overglaze. The ceiling was gray green and the carpet pattern comprised undulating ribbons of color in three shades of gray blue. Throughout the apartment, Lemaire employed color in line to define spaces and create interest. In the living room, she created three separate areas. The white rug laid over a gray green carpet encompassed the living area. At one end of the room, a platform defined a music room and at the other end, a car table and four chairs created a niche for a game of bridge or mahjong. On the walls, traditional moldings were banished in favor of color blocks in gray green and light chartreuse. The backgrounds and furnishings in the apartment were modern in that they had simple lines and were devoid of ornament, although metal was conspicuously limited. Another home in the classic modern mode was designed by Eugene Schoen, a New York born architect who had studied with Otto Wagner in Vienna. The Washington, DC home for Morris and Gwen Kaferitz had oversized rooms for entertaining because Gwen was a popular hostess. One entered the house through a red door trimmed in silver to harmonize with the silvery wallpaper in the foyer. A grand curving staircase set a tone of elegance and modernity. The foyer opened to the large living room, which was dominated by a mural with classical images set against a bright blue background. Placed asymmetrically into the mural was a fireplace with a mantle of stainless steel and a side panel of mirror tiles. The wall next to the fireplace was covered in silvery rose patent leather. The furniture was typical of Schoen's output, simple forms with gentle curves that bespoke no particular era and were compatible with both modern and traditional backgrounds. A twist on classic modern can be seen in an apartment the industrial designer Raymond Lowey designed for himself in Manhattan. Born in Paris, Lowey was educated as an engineer and came to the US after World War One. He was an excuse me, he was an apostle of streamlining and he created a space that looked forward with illusions to a classical past. The entrance foyer of the apartment featured a gray wood credenza with chromium trim, above which hung an image of the Broadway limited train that Lowey had designed for the Pennsylvania Railroad. In the living room, the dominant element was an asymmetrical structure surrounding the fireplace that evoked the streamlined shape of the train. Dramatically set against a darker background, the surround also served as one end of the sofa. The room contained many gleaming surfaces, all of which contributed to the clean modern look. Yet the comfortable easy chairs and the presence of the fireplace created an atmosphere in which the classical vases on the credenza did not seem out of place. To Lowey, good modern design could be achieved only by a designer with technical skills in addition to a feel for aesthetics. Not surprisingly, given his own background, Lowey postulated that a modernist designer had to be an engineer in lighting, architecture, and sanitation. Not every designer in the mid-thirties was adhering to classic modern. George Fred Keck and Frederick Keasler were two who favored a functionalist approach to modern living. Mr. and Mrs. Bertram Kahn commissioned Keck, a Chicago architect, to design a home in Lake Forest, Illinois that would be comfortable, informal, and easy to maintain. For the Kahn's, Keck situated a soaring living and dining room at the center of a curving four-bedroom house that afforded privacy in front with glass block windows and expansive views in the rear. Irma Kahn, who had a slight disability, asked that there be no carpets or lamp cords over which she might trip, so the floors were bare and the room was lit by recessed pinhole fixtures in the ceiling, which aviated the need for lamp cords. In this commission, Keck drew on the engineering skills that Raymond Lowey had deemed essential and created an environment that was interesting, yet safe for Mrs. Kahn. The Austrian emigre Frederick Keasler designed furniture and interior architecture for the Manhattan apartment of Charles and Mergarita Murgentheim and their two children. Murgentheim was a successful designer known for her boldly colored and patterned table linens which can be seen upstairs on the first floor. Keasler, a member of the European avant-garde, had immigrated to New York in 1926. Keasler and Murgentheim had both been members of Audac. From several small rooms on the main living floor of a duplex, Keasler created one large L shaped space with separate living and dining areas. He bisected the long leg of the L with a simple Bauhaus style desk in metal and glass. At the far end was a conversation and study area. At the near end was an entertainment area adjacent to which was a dining space. Draperies hung between the dining room and the remainder of the space and permitted the two areas to be combined or separated as desired. Keasler designed multifunctional furniture for the Murgentheims. A sofa shown in the slide on the left rested on wheels for easy movement and became a bed when the sofa back was laid flat. A party lounge shown in the slide in the middle was also a multifunctional piece. The center section could lie flat providing another bed or it could be raised as a backrest for guests who might be enjoying a piano recital or sipping cocktails before dinner. There were centers of functionalist modernism in the U.S. in the mid 1930s. It was championed at the Museum of Modern Art in New York and in 1937 Walter Gropie has brought Bauhaus Theory to Harvard University and Laszlo Maholi Naj established a new Bauhaus in Chicago. Nevertheless, while some Americans might have purchased items of purely functionalist modern design like the chairs in the slide on the right, most who chose modern design rejected the industrial appearance of functionalist furniture in favor of pieces that had the warmth of wood and the comfort of upholstery. To my mind, Kim Weber, who came to the U.S. from Germany just before World War I, best synthesized the various strains of mid 1930s modern design in the interiors he designed for Angelina and Walter Bixby in Kansas City. The soaring entrance foyer was an apt introduction to Weber's design vocabulary. The circular space was a counterpoint to the rectilinear facade of the building. Weber felt that beauty should be expressed through simple, logical, graceful, and proportional forms and designs. He had a preference for curving lines. The inlaid linoleum flooring reiterated the circular shape of the foyer as did the elegant spiraling staircase. The foyer led the eye not only upstairs, but into the large living room. The curved paneled wall in the foyer continued around the living room itself. The paneling in large squares arranged with contrasting graining created a backdrop for walnut furniture in which Weber created interest with rectilinear and curvilinear forms, contrasting grains, and satin silver trim. For the most part, this was a fairly somber room, but the cabinet interiors were painted chartreuse. Weber's skill in spatial manipulation was best displayed in the basement rumpus room. Weber left the huge space open, but he created separate seating areas that afforded some level of privacy. As you can see, the rumpus room was also a showcase for Weber's color sense. In the various rooms of the Bixby House, too numerous to talk about here, one can see the formal structure of Weber's German training, the sleekness of the art deco he viewed in Paris in 1925, the streamlining the captivated mid-30s Americans, and the modern materials that facilitated new approaches to design. The Bixby House is an exemplar of the emerging American modern aesthetic. In the final years of the decade, foreign influences continue to impact American design. The maiden voyage of the Normandy in 1935 and an international exposition in Paris in 1937 gave rise to a resurgence of art deco. The architect Paul McAllister seems to have been influenced by these events in his design of a living room in a Long Island home from Mr. and Mrs. George Vanderbilt circa 1937. In the entrance hall, painted dusty blue, a splendid wave-like satin chrome railing complemented a console in the manner of the French master Edgar Braun. The yellow and off-white dining room had a distinctly art deco flair. Curved edges softened the appearance of the simple table. Both the tabletop and the sideboard were veneered with pale burled wood. For the chairs, McAllister may have drawn inspiration from those designed by Emil Jacques Ruhlmann for the Normandy main lounge, which were upholstered with abstracted floral designs. In the Vanderbilt dining room, however, the tapestry designs featured African game as Vanderbilt was an avid hunter. Some designers look to Asia for inspiration. In 1937, House Beautiful presented its fifth annual Brides House at the Savo Plaza Hotel in Manhattan, featuring three separate apartments, one of which was designed expressly for young moderns. House Beautiful touted the living room of the modern apartment as a true meeting of east and west, an effective mellowing of the modern style, with the introduction of oriental colors and accessories in a room which is essentially modern. The interiors were designed by Ottoli Heuer, a staff decorator for the magazine. Dunbar Furniture Company, then under the direction of Edward Formley, provided the furniture for the living room. Dunbar featured the semicircular sectional sofa and coffee table in an advertisement, citing the originality of form and clean expression of function. In 1938, which was the 300th anniversary of Swedish immigration to Delaware, a fact you probably didn't know. Lorne and Taylor featured Swedish modern interiors designed by William Paulman, head of these stores, interior decorating and home furnishing department, who had recently visited Sweden. Paulman, born in Illinois and raised in Texas, studied at Parsons School of Design in New York and Paris. He furnished a two-room model apartment with American-made furniture based on designs he had seen in Sweden. The case pieces were simple designs in blonde wood. The upholstered pieces, with an echo of Beedermeyer, incorporated blue and yellow, the colors of the Swedish flag. The terminology may have been selected to put a new spin on what might have been termed classic modern a few years earlier. Other than its pale color, the furniture does not appear to have had any Swedish characteristics. In a never-ending effort to distinguish themselves from their competitors, manufacturers tried to come up with new lines and labels. In 1938, Dunbar introduced enduring modern as a moderately priced line displaying freshness and simple beauty. While some designers looked across the oceans for inspiration, others like Hollywood designer Billy Haynes looked to America for inspiration. For the San Francisco Golden Gate International Exposition in 1939, Haynes designed a room that evoked the western desert. A skull painting by Georgia O'Keeffe hung over the fireplace with a slate hearth and silver turquoise surround. A sconce mimicked a buffalo head, or maybe was a buffalo head. The furniture incorporated natural materials like leather and rawhide. Succulent plants dramatically backlit added to the desert motif. The British born designer T.J. Robes John Gibbings termed his decorating philosophy sans apoque without period. Circa 1937, Walter Anenberg commissioned Robes John Gibbings to design an apartment in Philadelphia in which the designer demonstrated his idiosyncratic approach. No hint of streamlining or curvilinear softness invaded the serene living room. The central feature of the room was an Egyptian bar relief set on a panel of gray, sandblasted oak which formed an unusual fireplace mantle and soared to the double height ceiling. Consistent with the designer's philosophy, the walnut furniture was the essence of simplicity. In the bedroom, the bedside lamps, the wood grain, and the geometric patterning on the bed cover provided the only decorative effects. The Anenberg apartment is an example of what one critic termed Robes John Gibbings' belief in refined austerity as embodied in simple lines rendered in beautiful materials. Some designers like Ohio born Virginia Connor continue to favor classic modern. Connor studied art and design in Cleveland, New York, and Paris. In Sea Island, Georgia, she designed interiors for an imposing modernist home facing the Atlantic Ocean. In the large living room, Connor used rounded contours and simple draperies to soften the architectural shell. She placed two armless sofas, curved armless sofas, so that guests could face the fireplace and each other while enjoying the view through the tinted mirror above the fireplace. A small fluted columnar table near the window lent a classical note to the room as did the fluted fireplace surround of Coquina Rock, a natural material composed primarily of shell fragments. At the other end of the modernist and geographic spectrum was a home Gregory Ayn designed in Los Angeles for Ursell Daniel, a reporter for the Los Angeles Examiner. Ayn grew up in Los Angeles where he interface with both Richard Neutra and Rudolph Schindler. In the Daniel living room a long row of bookshelves formed the backbone of a functionalist multi-purpose unit that created a narrow foyer to act as a transition from the front front door into the living room. High windows at the front of the house permitted light but provided privacy. Glass doors and walls at the rear of the house created the typical California indoor outdoor experience. That experience invaded the east coast in May of 1939 at the New York World's Fair. The House of Glass sponsored by two glass companies was one of 15 houses in the town of tomorrow at the fair that were open to the public at 10 cents a visit. With interiors by the New York firm Modern Age the House of Glass was intended to demonstrate and support modern trends and lifestyle and to tout the role of glass in that effort. The front of the house was sheltered from prying eyes by glass block windows while the back featured expanses of clear plate glass. The house was designed with an open plan but the dining area, living area and conservatory that could be closed off from each other by fiberglass curtains. Most of the furniture on the first floor which Modern Age promoted in its advertisements was classic modern. The predominant material was wood and the upholstered pieces were curvilinear in form. Two upstairs bedrooms opened on to a terrace that afforded sun protection with roof panels of tinted glass. Sliding glass panels separated the outer sleeping area of each bedroom from the inner dressing area. With the panels closed the sleeping area served as a cool sleeping porch while the dressing area remained warm. The chair, dressing table and dresser were primarily made of glass. Other exhibits at the fair also featured glass furniture. The glass furniture was not produced commercially. The weight and fragility of the glass may have made the concept of glass chairs untenable. Production of the style of chair was feasible however in plexiglass. On the right is a chair that Vladimir Kagan designed in 1967 which is similar to one designed in 1939. In May 1940 the New York World's Fair opened a new exhibit titled America at Home that included 16 room settings by architects, designers and interior decorators. This exhibit was intended to represent the variety of interests and living habits in the U.S. The wide-ranging interiors provided a punctuation mark for the evolution of American modern design in the 1930s. I think the five images on the screen will give you an idea of the ways in which American modern interior design had matured during the decade. On the upper left is a studio apartment titled Seven Days created by Virginia Connor.  Vibrant colors included purple, lime green and persimmon. Connor took into consideration some practical problems of one room living. The sofa converted to a bed and the coffee table became dining table height with the insertion of brass rods into the legs. In the center is a room titled Coffee and Cigars in 16B. Designed by Michael Hare and John B. Manzer, two of the many designers I encountered who are little known today, the room melds art echo with an emerging interest in biomorphic design pioneered by Alvar Alto. On the upper right is a parents retreat designed by William Muschenheim for adults desirous of privacy in a household with children. Muschenheim, born in New York City, studied architecture at MIT and at the Weimar Bauhaus. He favored a functionalist approach to modern design. Employing modern materials and avoiding any decorative flourishes, he created an easy care yet sophisticated environment. On the lower right is music corner designed by John Vassos, sorry, designed by John Vassos who was born in Romania and immigrated to the United States in 1919. A successful industrial designer, Vassos had established a design department at RCA in 1933 and had designed cabinets for RCA's early television sets. The music corner served several purposes as shown it was a media room with a television set, a radio, a phonograph, and a movie projector. Vassos designed the cabinetry however so that the occupants could close the photograph phonograph cover, slide the radio back and push the television down leaving no evidence of these modern accoutrements. The music corner encompassed many trends of 1930s modern design and demonstrated that they could peacefully coexist. Sleek and sophisticated modular cabinets conserved space and afforded flexibility. The horizontal orientation of the cabinets affected a streamlined look. Metal lamps and accessories denoted the relevance of modern materials and the machine as as did the Plexiglas cocktail table. Upholstered seating furniture gave Americans the comfort they desired. A corner planter bore nature into a room ostensibly devoted to modern technology. The room settings at America at home taken collectively reflected most if not all of the foreign and domestic influences of American on American modern designers during the 1930s. Designers in America still looked to other countries for inspiration. Hints of French, German, Swedish, Austrian and Asian aesthetics could all be found in the designs. Yet compared with interiors designed at the beginning of the decade, those designed at the end of the decade demonstrate that the foreign influences so strong in the earlier work were over the course of the decade modified and melded with an American machine ethic, streamlining, manufactured materials and most important an American pension for comfort, simplicity and practicality to create American modern design. Thank you.


Hello!  My name is Melanin and I am the family coordinator and part of the curriculum team here at CESAW. Today we are highlighting another CESAW employee. Her name is Cassandra and she is a Customer Success Manager. Fun fact, Cassandra was a middle school science teacher and instructional coach for a K to A charter school and was an early adopter of CESAW in the classroom. She soon became an advocate and trainer for CESAW at her school and did that for six years. While using CESAW in the classroom, Cassandra says, In my classroom, our learning and social experiences were the result of a variety of experiences, curricula and digital platforms. But at the end of the day, students always return to CESAW to make sense of their experiences. Cassandra was so passionate about CESAW that she began working at the company this past fall and is now using her passion with schools around the world. Cassandra, thank you for sharing your passion and instilling that passion about CESAW globally. It's incredible. CESAW is even more amazing because of you. Thank you so much for watching. We'll see you next time.