فشرف بل اشتغالي بالعلم ولا تبغي به ما عشت يا دا دا دا لا ويعله من شراف العظيمي فالحالة هذا هو عبد الله عبنه مسعود he said I was a shepherd كنت ارعا غنما I used to be a shepherd to who العقبة من عام ابن أبي معيط I used to be a shepherd for this man عقبة ابن أبي معيط I was a what?  أريد أن أعلم هذه منك فى مستحراتسة فرسة السلامة حالية عبدالله من عباس رضي الله عنه which is in مصنة أحمد he said I came to the Prophet ﷺ one night and this was the last third of the night he said I came and I prayed next to the Prophet and the Prophet ﷺ took me as he was praying and he placed me because he was behind he pushed me forward and he placed me on his side in the Salah عبدالله من عباس and then when he pushed me forward he said as soon as he let me go I went back again so when the Salah finished the Prophet ﷺ he said to him he said to me ما شأني what is the affairs جعلك I was making you next to me and stand next to me and then you kept you you went back again why would you do that عبدالله من عباس رضي الله عنه who responded by saying to him أو ينب غيلي أحدن is it befitted for anybody young boy imagine this is it befitted for anybody to stand shoulder to shoulder to shoulder with you the message of Allah and Allah has given you what He has given you فأجبته this answer from عبدالله من عباس amazed the Prophet ﷺ ruffled him mind-boggling فدع عليه the Prophet ﷺ which is what أن يزيدني الله وعلما وفهما he said oh Allah some of the narrations mentioned the Prophet lifted his hands up and he said oh Allah increase him in knowledge and understanding and oh Allah this is a story that took place to me me personally the experience that I had and I generally don't talk about it but it was when I was young I was in a very smart person generally speaking and I'm still not but I was in a very learned person I was academically good in school so my parents were kind of worried am I going to going to embarrass the family like this and so I remember there's a sheikh who from the family he was a professor from the University of Medina graduated as a PhD holder and when he finished I remember my dad saying this and he took his hand والله أنا لأنسى I never forget this incident he took his hand and he ran it through my head والله I never forget it and then he took his hand and he hit it on my chest and he said insha'Allah he'll be better than what you guys think of him and whenever I remember that incident I personally believe there was a portion that played in my life to love the religion and to fill this is it this is what I want to go for and be very passionate about it and I felt like if I ever tried to read anything before that day it was hard for me until that day I felt passionate about learning I was in love of the religion from that day onwards and it showed me that somebody had believed in me who believed that I can do it and that alone it just makes me feel like I've got more responsibilities to prove that I am what was thought of me so what I mean is this is a prophetic way it is what it is a prophetic way to make dua for a person especially if he's a student of yours or if it's a person you have you've taught so the sheikh here is taking the footsteps of the who دمس ج عليه الصلاة والسلام ثم تضافرت الدواع لرجوعه ثم تضافرت الدواع لرجوعه إلى الوطن لزيارة واليده وغير ذلك والتمس من أن أكتب له وصية نافعة فرائيت من الحق علي أن أجيبه إلى ذلك ومن الله تعالى أسأل التوفيق لي وله وأرتبها على مطالب he says then the necessity called for him to have to go back to his land the old student and he became obligatory on him to go back to his land because of unseen circumstances and والله عبد الرحمن اللي يحيل المعلم كلام is very powerful the way he speaks he goes والتامسة the word والتامسة if you look at the تعرفات by Imam al-Jurjani رحمه الله page 51 the word والتامسة means when you look for something in someone who is equal to you but he's trying to say he's my student he's trying to say here is that he was looking for something in me but reality were the same not that I am the teacher and he's a student ever then he's looking for me to give him something when we're really the same from what for him for me to write this final advice to him that he would benefit from he wanted me to do this for him فرأيت من الحق then I saw that it was a right that he had on me علي أن أجيبه for me to accept this from him إلى دالكة to this ومن الله تعالى أسألوا التوفيق and I also ask Allah gives me the ability to do this so the student requested from his teacher and this is another thing my beloved brothers and sisters is that the advice of your شيخ the advice of your علم the scholar that you learned from taking it from him his نصائح what shall I do next what do you advise me to do because it's a path which he tread on it is something he has done it is something he has seen it's something he knows you're treading and you're taking a path which he's already taken so he's going to tell you the shortcuts the paths where there's thorns but he's going to tell you don't take that path I felt like there was a pit there so العلمة عبد الرحمن من يحي المعلمي when he's advising his student and giving him this final you know will it comes from experience that which he knows عليه رحمة الله and that which he has experienced and that is why it's very important and it is vital that a student consults his teacher in the steps and the things that he wants to do so the شيخ says رحمه الله والتمس مني أن أكتب له وصية نافعة وصية in Arabic language it means التقدم إلى الغير بما يعمل به مقتلنا بوعضل it is to come forward to a person and informing them or telling them something which they should do but you do it in a form of وعب a reminder you don't say it in a commanding manner rather you say it in a heart softening heart trembling manner in which you address the issue so the شيخ says after that ومن الله يتعالى أسأل التوفيق لي وله and I ask Allah to give me the aid and the ability to fulfill my brother's rights and for him as well وأرتبها على مطالب but then he goes on saying I'm going to categorize my book in chapters and subheadings so the شيخ رحمه الله he categorized his book into مطالب مطالب means subheadings and those subheadings are eight there are eight subheadings okay and so we will go one after the other إن شاء الله تعالى we will go through one after the other the first one he says العقيدة توفيشتني ذات الله سبحانه وتعالى وصفاته so this chapter he is going to be speaking about the عقيد and the belief regarding the effect of Allah سبحانه وتعالى his characteristics سبحانه وتعالى the sheikh goes بعث الله محمد صلى الله عليه وسلم إلى الخلق وكان أول من دعاه العرب وكان العرب في جاهيليتهم يعترفون بوجود الله عز وجل وربوبيته وأنه رب كل شيئين وكانوا يصفونه سبحانه وتعالى بما تقتضيه الفترة وما بقي لديهم من ملة إبراهيم وإسماعيل عليهم السلام من صفات الكمال ويفترون عليه أشياء فجاء القرآن والسنة بالتقريرهم على الحق وردهم عن الباطل فكان من الباطل زعمهم أن الملائكة بنات الله تعالى فكان من الباطل زعمهم أن الملائكة بنات الله تعالى الله عن قولهم وزعمهم أنه يجوز أن يعبد الله وزعمهم أنه يجوز أن يعبد مع الله بعض من ملوكاته ليكونوا شفاعاء لهم إليه ويقربون ويقربوهم إليه زلفاء وشكهم في أن الله يبعث الناس بعد موتهم الشيخ يقول الله سبحانه وتعالى الله محمد للملائكة وملائكة أول من هؤلاء الملائكة إلى الله تعالى هو العرب ومثلاً جمعة آية آية 2-4 هو الذي بعت في الأميين رسولاً منهم يتلو عليهم آياته ويزكيهم ويعلمهم وإن كانوا من قبل لفي الضلال مبين وآخرين منهم لما يلحقوا بهم وهو العزيز الحكيم ذالك فضل الله يشيه من يشاء والله ذو الفضل العظيم في آية الله تعالى هو الذي بعت في الأميين رسولا العرب لا يجب ان يكونوا من قبل وليدالك حافة المكثير في صورة الجمعة وتخصيص الأميين بالذكر لا ينفع من عداهم فالفكتر الله يكتب من يشعر من يشعر من يشعر ولكن المنة عليهم أبلغ وآكد ولكن ما يعني هو أن العزيز الحكيم يتخصون في عددهم وعودهم ومحبتهم يكونون عددهم ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر ويشعر and إني رسول الله إليكم جميعا أو الناس I was sent to all of you والله سيز وما أرسلناك إلا رحمة للعالمين صورة الأنبياء آية 107 I have not sent you except a Masjid from mankind وصول الله سيز in صورة الفرقان آية 1 تبارك الذي نزل الفرقان على عبده ليكون للعالمين النذيرة العالمين النذيرة The universe everything وصول الله سبحانه وتعالى He says in صورة الجمعة آية 2 to آية 4 which I already have previously mentioned So those verses are evidence to show who the prophet was sent to Arabs because it's a virtue over them It's a blessing You see But it's also a messenger that was sent to all of mankind وكان العرب في جاهيلية يعترفون بوجود الله وربوبية عبد الحماني حين معلم He says And the Arabs before Islam came to them They recognized and they believed in Allah's existence It wasn't something they disbelieved They knew Allah's existence سبحانه وتعالى They believed in Allah تبارك وتعالى عبد الحماني That he was a creator He was a sustainer He was the provider They believed in that Believe that وأنه رب كل شيء And there is the Lord of everything They believed that And also They also used to describe Allah in that which was in accordance to their natural disposition نفط الله وكان يصفونه بتعالى بما تقتضيه الفطرة And they would attribute to Allah That which their natural disposition was upon And also They would describe him in An attribute to him That which they found from what وما لديهم من ملة إبراهيم وإسماعيل من صفات الكمل Whatever they inherited From the religion of إبراهيم وإسماعيل They would also They would also attribute to Allah سبحانه وتعالى You see And the evidence for that all is صورة المؤمنون آيا اي تفوت آيا اي تيناين و الله سيز قل من الارض ومن فيها إن كنتم تعلمون سيقولون لله قل أفلا تذكرون قل مر رب السماوات السبعي ورب العرش العظيم سيقولون لله قل أفلا تتقون قل من بيده ملكوت كل شيء وهو يجير ولا يجار عليه إن كنتم تعلمون سيقولون لله قل فأنها تسحرون So this verse in صورة المؤمنون آيا اي تي فوت To آيا اي تيناين الله is saying that if they ask these questions These simple questions if they were asked Who is the one who created this earth And it's for him They would say Allah If they were asked Who is it that owns the seven heavens and everything that are in it And who is the Lord of the throne They would say to Allah If you ask them Who is it that one Who the controlling of everything And the running of a fez is in his hands Who is it They would say to you Allah So all of this was something they affirmed And also الله سبحانه وتعالى He said وما يؤمنوا أكثرهم بالله إلا وهم مشرقون That the majority of them will not believe in Allah except they did it with shirk So they believed in Allah سبحانه وتعالى Surah to Yusuf I 106 The majority of them were not believers except they came with shirk So they had that Which is تحيد الروبوية An existence of Allah Rather my beloved brothers and sisters There was never a group of people ever This is what إبراكاتير says And إمام العالوس رحمه الله said They were never atheists on the face of this earth They negated that حتى the دهريون and all of them They did not negate Allah's existence They only negated the نموات Legislations Rules and regulations from the prophets This is what they were against As for Allah's existence حتى فرعون wasn't an atheist He believed in it Because نبي اللهي براهيم نبي اللهي موسى said to him لقد علمت ما أنزل هؤلاء You know that no one came down with this acceptance الله تبارك وتعالى واجحة دو بيها وستقلتها أنفص من ظلمين وعلوها Until today it's a discussion Does atheism exist? It's a discussion It's not readable It doesn't exist It's atheism Something that actually exists Does it exist? Do these people literally Do they believe there's no God? Is this even real? Are they like this? Or is it just because they want to follow their desires They want to get rid of any obstacles That might get in their way And that's the only reason Do they really are they convinced With the concept that there is no God? هدفه حتى دهز محروث In discussions regarding it And as I said to you guys before There was a research done And based on that question alone In Finland that's why the whole Research was done in Helsinki I think it's the capital of Finland They went there and they done a research That atheism Is it a belief That actually the people who have it Are convinced with it Or is it because of I don't know if you guys know But one of Europe's greatest places Where atheism is Finland One of the largest amount of atheism exists So the university of Ashford in America In Finland they came together To do a research And so they placed things on Neurologists and scientists were brought To check the brain of their person When he's requested to insult Allah Or insult God And they put a machine on their head And they were seeing And they found that The brain, the way it reacts When the person who believes in God And the one who claims Not to believe in God's existence Their brain when they both insulted God Was the same The fear The side where The brain where it releases emotions Regarding fear Was actually going off So they realized that the body And the reaction is all the same على كل حال The issue of atheism We've never come across A group of people who was an insult Even in the 17th century in Europe Especially in Britain It was an insult For a person to be called an atheist It was not a good name So The شيخ رحمه الله He's explaining here That They were not those Who disbelieved in God's existence And they were upon their فطرة You see Then he goes on to say ويفترون عليه أشياء فجاء القرآن والسنة بتقريرهم على الحق ورديهم عن الباطل فكان من الباطل زعمهم أن الملائكة تبنأت الله تعالى الله عن قولهم Then they lied Upon الله تبارك و تعالى So the Quran and the Sunnah came To clarify the truth And to bring them back from the falsehood Which they were upon And from the falsehood Which they claimed And they spread was The angels of Allah سبحانه و تعالى Are the daughters of Allah Exalted is he الله تبارك و تعالى From the filthy speech Exalted is he سبحانه و تعالى As Allah has said in Surah 2 الصافات I want 150 أم خلقنا الملائكة إناثا وهم شاهدون ألا إنهم من إفكهم لا يقولون ولا دلله وإنهم لكادبون أصطف البنات على البنين ما لكم كيف تحكمون God says to them أم خلقنا الملائكة إناثا Did we create the angels females And they were witnessing What was we doing They were aware They were looking Allah then says ألا إنهم من إفكهم لا يقولون They are only saying this from their false Forged statement They can even their إفتراء They are just saying this Out of falsehood and lying ولا دلله وإنهم لكادبون Allah سبحانه و تعالى Has children الله يدي their lives أصطف البنات على البنين Allah chose girls over boys Means In other words The girls were something you guys ran away from But you attributed to Allah تبارك و تعالى ما لكم كيف تحكمون Why are you guys judging this concept like this So the word حكم here is used for Their belief and their actions علام عبد الرحمن يحر المعاليم He has another book It's called أقيدة العربي في وثانيتهم That's what I think it's called And you will find it In his أقيد the series That When he speaks about The Aqeed of the Arabs And their belief system He explains A سبب الباعث What is the reason Why they said that the angels are the daughters of Allah What was the reason And it gives four reasons عبد الرحمن يحر المعاليم And he says من المهم معرفة سبب الباعث لهم أي مشركية العرب على قوله من الملائكة على الملائكة بنات الله والذي يلوح لي أمور So he says It is important That one knows the causes of why The Arab pagans Were saying that the angels are the daughters of Allah One needs to know this It's very important And he goes And then he goes on to saying There are some issues That makes me think This is the reasons So he gives four reasons And The first one being أنهم تلقوا ذلك من من تلقواه من منه عبادة الأسلام The people who they took I do worshipping from Were the people who gave them this concept So they just took it from them The ones who gave them I do worshipping And they got the idolatry ideology from Are the same people who told them About the angels being the daughters of Allah So they just adopted the concept from them Number two That the second one was أن الذين ادعاهم إلى عبادة Sorry أن الذين ادعاهم So that was the second one Sorry But the first one he says The first reason he mentioned was أنهم تلقوا ذلك من من تلقواه منه عبادة الأسلام They took it from whoever they took it from Where they took it generally From whoever they took it from The second one is He narrowed it down to the I do worshippers The third one he said is What أنهم سقط إليهم أن أهل الكتاب أنهم يطلقون قول الله قولهم أبناء الله The angels The Christians When they saw the scriptures of the Christians And what they believe The Arab pagans and I do worshippers When they saw the Bible The Christians and the Jews Or the Christians more like That they say these are the sons of Allah You know the sons of Where the Son of God Where the Son of God The angels of the Son The sons of God Those concepts They took that on board So because The Christians they say the Son of God I'm the Son of God Jesus the Son of God صح They do that right So they inherited that concept And they applied it for the For And what do the What do the What do the Jews say The Jews say المختارينة Where they chosen elite ones So they took that concept on board And they applied it So that's what he says He said that the fourth reason The fourth reason is The Arabs Used to see the عاقب The one who doesn't give birth as an insult So then it was like an insult Anyone who's like قانا بكد They're like wow That was it This an insult So they thought that They had to exalt Allah from this They can't say Allah can't have children That's an insult So they said That Allah has daughters Allah has the angels As these daughters So then the question is Then why daughters then So they said the reason Why they chose daughter Specifically is because From the Arabs Traditions And their norms Was that the boy Has some form of control With his father Whereas the daughter doesn't She has nothing enough Like she just listened Listen Follow me Whereas the son He kind of contributes the thoughts To the plan of the family He has some say So they thought that If they said Allah's angels are boys That they kind of control things With Allah They didn't want to say that Are you with me? And those are the reasons Why he mentions For him عليه الرحمة الله وزع مهم أنه يجوز you أن يُعبد مع الله بعضو مملكاته And from the claims That they've put forward Which is what? That it's permissible أن يُعبد مع الله That it's permissible To worship besides Allah Or with Allah It's permissible ليكونوا شفع عليهم The reason why They were worshipping besides Allah was for the fact Of intercession This is the reason Why they did it And that these things Where you قربهم إليه زلفة That they can get them Closer to Allah وشكهم في أن الله يبعث الناس بعد موتين And also the other problem That they had was They're doubting In that Allah can Resurrect the creation Of the death زل الله سلم سورة المؤمنون بل قالوا مثلما قال الأولون قالوا إذا متنا وكننا تراب وعظاما إنا لمبعثون لقد وعدنا نحن وآباؤنا هذا من قبل إن هذا إلا أساطير الأولين So they rejected The concept of البعث بعد الموت They said بل قالوا مثلما قال الأولون Allah said They have exactly Responded with The previous nations Responded with Which is saying What?


Ahoy hoy and welcome to another r slash dank memes from site 19 if you don't know what that is It's where I look at memes from the r slash dank memes from site 19 subreddit. These are scp memes Let's get started. Dr. Sumerian in his videos. Dr. Sumerian according to memes this is I Don't mmm on the one hand. I am still kind of a jerk In my videos from time to time, but not as much of a jerk I'll agree as the memes make it out to be but I don't know I think that's kind of funny in and of itself You can escape death row by working for some scientists for a month You survived a month and earned your freedom the scientists pray you with a weird gas the scientists free with a weird gas You can escape death row by working for some scientists for a month Amnestics I always wonder if amnestic abuse is gonna cause long-term side effects in the human subjects Feels like there's a story there somewhere Someone write it You're right about scp 173 Dr. Sumerian That sounds oh No, I don't I don't believe that something is wrong with the universe I Like this is actually The color change is actually done pretty well here. Kind of like it. Well, I ever be as good as the old masters Me trying to write my first article Well, I ever be as good as the old masters the people that wrote the articles I read Well, I ever be as good as the old masters the people that wrote in the early days I'm the best the guy that wrote The three Thing is is that whilst there is always going to be people involved in creative endeavors that have anxiety is like their first emotional response to Every stimuli they were also be guys like the last one always in every type of creative endeavor who? just fucking thinks that they are the best at everything and I think that's okay, too. You know a good mixture of types of people But the the anxious am I good enough people or tend to be the one tend to be the ones that agonize over their content a lot more thing is I think what you have to come down to is it doesn't really matter if you're You know to me who cares if you're good or better than anybody else just be good enough That's all that really matters. It's all that mattered in the beginning and it's all that matters now Sumerian doll that microwaves your fish plays your video games and verbally explains exclaims how wrong you are $254 zero bids That's a that's disappointing When SCP 028 gifts you with knowledge of what SCP 055 is then immediately forget it There's really is a good story I'm sure in there of somebody going into SCP 028 coming out and being like I I didn't learn anything Maybe like what do you mean you didn't learn anything? I mean I didn't learn anything at all And then like going into the long-term story of that This is what authors think will happen when their characters face the fourth wall. This is what really happens I was looking at this meme and what drew my interest more than anything else is the fact that I'm not a person It sure if I've ever written anything That breaks the fourth wall like out of the 120 ish articles I've written I don't think a single one of them breaks a fourth lock could be no That's not well it is and isn't Hmm, I'm sure you know with that many articles I'm sure there's one that I broke the fourth wall with at least in a minor way There's I'm trying to think of critical thinking is an SCP that literally talks to you about poorly the Article it's in is written. So there's that It's not quite the same. It is a sort of a fourth wall break. It's not talking to the audience though. It's still in universe Hmm, maybe a tale or something who knows Everybody gangsta until the omega k happens in 2020. See this is a thing. I have yet to see a Interesting actual like update to an article Like based on whatever, you know Give me a date that something is supposed to happen and then like when that day comes actually update the article to make it Interesting and I've done this myself before created future dates and then like set an article in the future and then that future comes because it wasn't super far ahead and And then I'm like, oh, should I edit the article to make it now? No, I'm not even gonna bother. Okay, cool And never not once so far and maybe I'm wrong about this has that ever come out as anything other than the underwhelming the best Case scenario is that you get a bunch of hype going for it and people read it at the very least But I mean I was even disappointed by Kalinnans and he's one of the best writers on the scp wiki and even his I can't remember what article it was. He had a countdown and when he got the countdown hit. He started a like a seven part Oh one article and that it was it was okay. It was pretty good actually, but it wasn't like So amazing that it deserved all that build up There's one. It was good enough That's always well at these kind of things like when you do that you're building so much anticipation That it'll never be as good as what you think as what everyone wants it to be Anyone who says their favorite articles from series one is either never read an article from series three to six It's simply unable to accept. They're better scp's than the classics or doesn't understand that an article Articles ideas and what the object does aren't as important to an article's quality Then the execution of the idea of the story that the article tells changed my mind. I I Only agree with this in part I don't think it's necessarily always true that anyone who says that's their favorite is Is this is true of them? A lot of people come to the scp wiki for different things and there's nothing wrong with that saying What is good and what is bad is sort of an Completely subjective thing. I was about to say objectives completely subjective. So if you sort of Look at this and you're like, well, you know Series three and six is objectively better. I mean like by what standard and And again, it comes down to like individual articles There's a lot of individual articles in series three to three six that are not that great And yes, the series one stuff Definitely has a serious problem of focusing in on what an object does just like oh, we've got a cool magic item Or oh, we've got a cool monster manual entry and that's it and then expects and then sometimes fortunately for the early series is Tails were able to make up for lackluster articles and when we think about stuff like 682 The core article might be pretty shitty, but Test logs of trying to kill 682 and stories including 682 make you think better of it So you like 682, but the actual article can still be bad same thing goes for Kane and Abel or SCP 173 to some extent It's the in them for once of three it might be some of the surrounding media Rather than the actual unsized stuff because he doesn't show up in a ton of stories So he shows up in a few quite a few but not like as many as some of the other character SCPs So I think that's part of the problem and I think that's part of the problem of the Let's say post series three snobs Which is still a problem if you're like only the stuff from series three and I'm beyond as good You're falling to the same trap as the people who say only series one is good Hate being in series two if you're There's a lot of you know, there's a lot of writers who wrote most of their stuff in series to you imagine being those people but Like the series one and series three and B From three on I do have a very different flavor to them But that's because they were written in different times And if you don't accept that series one articles were meant to be set ups for stories Whereas series three through six are basically supposed to support itself Then I don't think you understand the wiki as well as you think you do Everything you say is wrong. Everything I say is wrong. Wait a second.  I hate it. Yeah I get this on I've had this on a few of my articles Watch this. He's gonna say take my up vote or plus one take that but that happens on quite a few of my articles This is the uh this This is terrible and it makes me want it makes me want to make you want to punch you in the face plus one and It's a it's a funny juxtaposition. That's never gonna get old You don't want to complain about it because I mean you're getting a plus one out of it, but at the same time you're like Kind of wish you had something sometimes it is funny. Sometimes it's phrased originally or it actually does seem clever, but It's it's kind of devolved at this point into just the perfunctory. This is terrible plus one Uh some originality that would be nice Anyway, that's it Thank you very much for watching. If you enjoyed the video, please Scroll down and hit the subscribe button and then hit the notification bell next to that So you're notified when I upload new videos Then head on over to patreon.com forward slash D Samarian and pledge at any level like everybody here on the screen already has including Probably wizard definitely not a scientist at $42 a month Hotheaded canadian at $50 a month lawful evil at $60 a month and vb at $88 a month Thank you very much for letting me know that i'm not alone out here and I will see you all again on thursday


This is JSATV, the newsroom for tech and telecom professionals. I'm Dean Perine, and welcome to JSATV. We are coming to you live from the show floor at the telecom exchange in the Big Apple, New York City. And I am here with my friend, Jessica Nava. Jessica is the director of Carrier Sales for Finger Lake Technologies Group. Very nice, yes, we are. Jessica, welcome to JSATV. Oh, thanks so much, thanks for having me. Absolutely, so how is the show going for you so far? Every time I turn a corner, you're talking to someone. I can only assume that's a good thing, right? It's a great thing, this is an amazing show. The networking is phenomenal. You've got the best of the best carriers in the Northeast here, so it's an amazing day for us. We've been for four years in a row, we're sponsoring the event now, so thanks for having us. Of course, we thank you very much. So Finger, F-L-T-G, what's the new buzz there in the office? So F-L-T-G right now is about to launch HCS from a white label perspective for our partners. So HCS is Cisco's hosted collaboration suite. It's a UCAS play, Unified Communications as a Service, and we're launching that for our partners in September. So we're hot and heavy and ready to roll that product out. Outstanding, Jessica, thank you so much for joining us on JSATV, and thank you viewers for tuning in to JSATV. We'll see you soon.


So, I'm very down on Christianity, and down on Judaism, right? Because I read the Old Testament as saying you have no freedom of religion, no freedom of speech, no economic freedom, and you're supposed to obey. It's very authoritarian. I mean, the essence of religion is authoritarianism.  Yes, sir. Off I go. And that's what makes you a moral hero, is that you don't question. Right? You don't question.  Which is what he should have said. You obey. And that is moral authoritarianism. And that's off.


The Great Big Green Week is the UK's biggest celebration of community action on tackling climate change. Let's imagine I work at the Climate Coalition and I've been tasked with identifying constituencies that could benefit from more support with hosting Great Big Green Week events this year. How could I use the local intelligence hub to do that? Let's start by finding all the constituencies which had no Great Big Green Week events last year. Just because there weren't any events here doesn't mean constituents don't care about climate issues. Let's shade by one of our polling data sets to see what constituents think. Yes, there's clearly widespread support for climate as a priority. Let's see who we can call on to help with that. If I switch to Table View, I'll be able to add more detail. Let's add columns for some of the Climate Coalition member organisations that might be able to host events in these constituencies. I'll pick the Women's Institute, Christian Aid and Wildlife Trusts. I can sort by each of these columns to find the constituencies where climate movement presence is strongest and either click on the constituencies to see more or go back and download the entire thing as a spreadsheet to analyse locally.


Well, welcome folks. This is Tom O'Brien of TFNN. We go five days a week. We go seven hours a day. We go 24 hours a day on the internet at TFNN.com. Always remember folks, whatever you think about, you bring about whatever you focus on grows. Hope everyone's having a great day, safe day. It's making a great night, folks. Except your own beauty. You are beautiful no matter what your mind tells you. That is a fact. If you are aware of your own beauty, accept your own beauty. The opinions of others don't affect you at all. Knock it wise. Let's take a look at it out here. We have the Dow Industries down 249, Nasdaq's up 31. S&P's off 9.5. Gold. Gold contract down $16.90. Trading out at 20.20 an ounce. We have Silver down $1.27. $24.38 an ounce. Light Sweet Crew down to $1.63. $70.93 a barrel. Notes and bonds. A 10-year note. Up for ticks. Trading $116.01. The 30-year up $27.00 at $131.17 and $Kingdala. $Kingdala's up $586.00. Trading $102.057. The Euros at $109. The Yen is at $134.00 and the British Pound is at $125.00 to $1.00 U.S. Dollar. Our phone number is<PHONE_NUMBER>. Give us a call, folks. I want to know what's going on in your world and the world of the S&P's. Let's take a look at it. We have some heavy divergence, folks, and this is what it is. You get the S&P's, have been going all over the place, but yet the Dow is up 570 ticks and it's not affecting the S&P because when the Dow goes 570 ticks, the bottom line is that, yeah, we've had to spread and the S&P out here today of 47 points from the highs to the lows. You're still only down 7 and that's not bad from where we are, but what ends up happening, the divergence comes in the aspect that the dollar is getting some breath behind it. So if we take a look at this, we take a little spy first off. We put this on a daily first. You get an inside day right now and there's a big contraction going out. Yesterday we had some volume. That was banging out 96 million. You only had 49 million today. If we go into the gold, you're going to see that the dollar is taking the gold south, bottom line. You take a look at this gold. You're going down with 270,000 contracts. It's going at the 280, so that's a big downdraft. There's no doubt about it. You're down 17 bucks right now. I suspect the bottom of this trading range that we're in and gold, well first off, gold is a confirmed ABC structure up. That being said, bottom line, you're now in a complex ABC structure up because you got below the B point once again, so it means you can go to the bottom of the consolidation, which runs out there at about 1900. We go take a look at the queues because the queues did yesterday. The queues took its swing point out, took it out with volume. Big volume out here yesterday. It's a small ABC up actually. You have a contraction out here today, but guess what? The queues still want higher price. That's how I read this. You took a swing point out, you took it out with volume, that's say it wants higher price. Now this is where it gets really deviant because if we go over to the dollar, well actually, let's look at oil first because the king dollar here is also taking oil south. With king dollar going higher, it'll take every commodity south. This move to me looks like this time it looks like it's going to run to that 106 when we get to it for a second. You have the oil contract down to buck 63. That's trading 325,000 contracts. We look at that. That's not really an expansion of volume yet, but the bottom line is that when you take a look at this, oil hardly bounced at all. In fact, well no it didn't. It bounced to .50 of the leg down because we had got into that 63 dollar area. Right now you're at 70. Now if we get over to the dollar and take a look at the dollar, you're going to see the expansion on the dollar. You can see the dollar out here today. The low was 101.304. You're at, we went to a high of 102.153 and right now the dollar is hanging tough. You're hanging tough up there. What you can see, if we go all the way back to January, that's when the dollar made that low of 100.62. That's one low. The next low came in in April. That was a high or low. The next one came in at the end of April, which is a high or low. The next one came in in May, which is a high or low. If this is it, if this is going to go back to that 106 bottom line, what should happen is that you're going to get more selling pressure inside the S&P. We'll see how that shakes out because this S&P today, I mean you talk about that, check this out, man. This is about as volatile as you can get. This does happen, we're in a consolidation folks. No doubt it's going to break one way or the other. This is how consolidations do trade. That's the bottom line. Now that being said, I suspect 20 minutes ago, that bar is a high volume bar. When we got to that word 41, 44 right now, that 41, 46 is going to get tested again because you did have an expansion of volume up there. Now we'll see if the test is lighter volume, the test is lighter volume, it's going to send it right back downtown. So little tricky out here, but bottom line it is what it is. We got to take a look at some of the high of, oh no, let's go to the bond market because notes and bonds want higher price, lower yield. It's pretty wild, man. I mean you take a look at this. You did 1.5 million contracts out here in the 10. You're getting closer and closer to the highs. Right now you're at the 116.07. The highs come in at approximately 117. And we've been up here one, two, three, four, five times and this will be the sixth time back in the last six months. So if you break that, then you get a monster ABC structure on the way up. And if we look at the rate structure right now, you're at 3.3. And the high has been four. So we're off 7.1%, which is a huge move in the context of where we've been. Stay right there, folks. Come back with our man, Mr. Tim Ord. We're going to be slicing and dicing these markets up. Right now we have the Dow Industrials down 2.42. NASDAQ is up 38. S&Ps are off 7. We have the gold market getting hit down here. We're down 16 bucks.  Platinum's off 16. We're going to be right back.


In the last couple of months I've made several videos highlighting some of the really cool shell utilities on Linux, and you guys have asked for more, so continuing along in this series of videos, today I wanted to highlight three rather simple shell utilities that you will find very useful. Those utilities are Shuff, Sort, and Unique. So let me switch over to my desktop, and I'm open to terminal and I've zoomed way in, so hopefully you guys can read the commands I run today. Let's start with the Shuff command. What is Shuff? It generates random permutations. Basically it takes whatever input you give it, and it shuffles things around so they're in a random order. For example, if I ran Shuff on my .bashrc file, it takes my bashrc, and it reorders the lines, it shuffles the orders of the lines in a random sort of way, so it just mixes everything up. Now if I wanted to do something a little more useful, I would do something like sequence 10, take a list of numbers, one through 10, right, I get a sequence, and maybe I want a random number one through 10. Well, I could do Shuff, and I get a random order, but I could do Shuff dash in for the number of occurrences, and I only want one random number sequenced one through 10. And there you go, if I ran that again, you know, it would always be a random number one through 10. And of course you don't have to do just one random number, maybe I want five random numbers of one through 10. Or maybe I want five random lines from my .bashrc. And then I just got five lines randomly selected from my bashrc outputted here in the terminal. Now of course you can run the shuff command on a file, and then have it output to a new file, for example, let me create a file, I'm going to get a sequence of numbers one through 10 again, and let me write that to a new file, I'm going to call it test.txt. And then what I could do is I could shuff test.txt, and then give it the dash O flag for output, I want you to output the shuff on the test.txt to a new file, test2.txt. And then if I cat test2, you can see that it wrote the output from this to that test2.txt file. Another example of shuff is shuff dash in for number of occurrences, I want three occurrences this time, and then I'm going to give it the dash I flag, and this is an inclusive range, and the range I want is one through 10, and then I'm going to give it dash dash repeat, meaning I don't mind if we have repeated instances in the shuffle. And if I run that, it takes the numbers one through 10, it takes a range of numbers one through 10, it shuffles them and gives me three occurrences, and you can see we can get a repeated occurrence, if I didn't want a repeated occurrence, if I wanted only unique numbers, I would get rid of dash dash repeat, and run that same command. The next command I want to talk about is the sort command. What is the sort command? It sorts lines of text. So an obvious example, let's sort my bash rc file, and it does this alphabetically of course, so it basically took every line of my bash rc and reordered it alphabetically. And if you wanted to, you could give it the dash r flag for a reverse alphabetical order.  Now if I ran a man page on sort here, you can see there's several flags with sort. Some of the more common ones include the dash f flag, that's the ignore case flag. So it folds lowercase to uppercase characters. Another common one is the dash i flag for ignore non-printing characters.  One interesting thing you can do with sort is you can give it a field separator.  You give awk a field separator, and then based on that field separator, you pull out a certain column. With sort, you give it a field separator, and then sort by whatever column you tell it to sort by. For example, if I want to do this command here, I can do sort, and then dash t, and this is for field separator, and we're going to use a colon as a field separator. And then I'm going to give it the dash k flag, and then I'm going to give it a number of the column that I want to sort.  So if I run that, it sorts that file by the third column, which the third column is nothing but numbers. It starts at zero, and then goes all the way to 65,000 here, and it sorted them based on the third column. Not the first column, if it sorted by the first column, it would be by name. And you can see it definitely sorted by the first column. If I wanted to, I could sort by the first column just to show you the difference. Or any other column, if I could sort by the second column. But the second column is all the same value as all the x. Probably one of the most common uses of sort is sort with the dash u flag for unique. So if I did a sort on my dot bash rc one more time, but this time I'm going to give it the dash u flag for I only want unique lines. So there's several things in my bash rc that probably appear many times. Things like if and fi, for if statements, that's the beginning and ending of a if statement. And if I sort these lines, and if I go alphabetically up, I see one occurrence of fi. Now I know in my bash rc there's probably a dozen different occurrences of fi at the beginning of a line. So it only gave me one instance of it, and instead of a dozen instances of it. If I ran that command without the dash u, you'd actually see this in action. Let me scroll back up to where fi is. Yeah, you see there's actually four appearances of fi, three appearances of spaces with a fi. So the dash u flag just gets rid of the duplications. And just like the Chef command had dash o for output, you also have dash o for output with sort. So if I did sort, well sort my dot bash rc and then dash o for output. We're gonna write that to test2.txt. Remember that was a random order of 1 through 10 earlier. But now if I catted test2.txt, now it's actually my bash rc that was sorted. Another cool thing you can do with sort is you can actually do kind of a chef with sort, you can do sort with the dash r flag for random. So if I did sort dash r on my bash rc, it shuffles the lines randomly. It's not necessarily random because you do get groupings like this, where you get a lot of fi statements together. So it's not exactly like chef. It's kind of close, but if I did man on sort to see what is going on with the dash r flag, you can see it's a random sort, but it does group identical keys. So it's not quite as random as chef. So now we've talked about chef. We talked about sort. Let's briefly cover unique, which is UNIQ. And typically with unique, you use unique in conjunction with sort. Typically you run sort and you pipe it into unique. So if I wanted to sort my dot bash rc and then pipe that into unique, what this does, it sorts alphabetically my bash rc, and then it removes the duplicated lines by piping it into the unique command. And if I give you an example of how that worked, remember I had four different instances of fi in this file, but now I only have the one line returned because again, with that command, we piped it into unique. We got rid of the duplicated lines, only unique lines are returned. Now typically this sort and then piping it into unique with no other flags. Typically you don't want to do this because honestly you could just do sort dash u because remember the unique flag with sort, it actually accomplishes the exact same thing. Remember we only have now one instance of fi. So again, you only get the one instance of each line, it gets rid of the duplications. But some of the flags that you will often use here with unique, typically you'll sort something and then pipe it into unique and you'll give it the dash u flag. And what this does is it only returns unique lines. And I don't mean it only returns unique lines one time. I mean, if the line is duplicated, it doesn't return any of them. So now when I sort this, I go into the Fs because it's alphabetical. There is no fi anymore, right? It got rid of that because it appeared four times. It's not unique. It doesn't return any of them. It only returns absolutely unique lines. And if I wanted to do this in reverse, I could give it dash d for only return duplicated lines. And these are the four lines in my bash RC that appear several times. You got spaces and then the closing brackets or braces there and then fi with the spaces in front of it and fi at the beginning of the line. Another very useful flag is the dash C flag with unique. So if I do unique dash C here, what this will do is it will give me a number of occurrences for each line. So it prints out every line, but it gives me how many times that line appears in the document as far as the duplications. You see fi appears four different times. Fi with the spaces in front appears three different times. Now that's really useful, especially if you wanna sort by the most frequent number of occurrences, how you would do that is you would sort it and then you would pipe it into unique with the C flag and then once again, pipe it back into sort and give sort the dash n flag and the dash r flag for reverse for number of occurrences in reverse. And if you do that, now it should sort by the frequency. So if I get to the very top here, you see a blank line, an empty line was 48 times. And then the next most frequent line was the fi line. And let me clear the screen. So that was just a little bit of what you can do with Shuff, sort and unique. They're very simple utilities, but very powerful. They allow you to do a lot of cool things and manipulate texts and they're very useful in shell scripting. Now, before I go, I need to thank a few special people. I need to thank the producers of this episode. I'm talking about Absi Gabe James, Mitchell, Paul, Wes, Akami Allen, Chuck, Kurt, David, Dylan, Gregory, Haiko, Mike, Erion, Alexander, Peace, Archon, Fedora, Polytech, Raver, Red Prophet, Scott, Steven and Willie. These guys, they're my highest tiered patrons over on Patreon without these guys. This episode about Shuff, sort and unique would not have been possible. The show is also brought to you by each and every one of these fine ladies and gentlemen. All these names you're seeing on the screen right now, these are all my supporters over on Patreon because I don't have any corporate sponsors. It's just me and you guys, the community. If you like my work and wanna support me, look for DistroTube over on Patreon. All right guys, peace.


Welcome Artistic Explorers to Monet Café. You've come to the right place if you want to learn more about art, specifically pastels. Today it was a very exciting time for me combining pastels and oil paint. Yes it can be done and I'm going to be sharing that with you guys in this video. A couple of quick announcements before we begin. Many of you ask about my music that I use in my videos and where I get it from. I actually just use the YouTube Audio Library. There's a lot of great little selections there you can use and I don't have to worry about a copyright issue. Also I sometimes forget to ask you guys to subscribe if you're a first-time visitor to Monet Café. This YouTube channel is a great resource for you if you're interested in art, learning how to paint, and specifically pastel painting. And all of the videos in Monet Café YouTube are free. Currently I'm focusing on bringing more beginner content to this YouTube channel. However, I also have a Patreon account. This is a place where you can support me in continuing to bring the free videos for $5 a month and also get some extra content. With that said, the full extended version of this video will be provided on my Patreon page and also my Patreon Facebook group. This video that you will see here if you're seeing it on YouTube will have some limited content but still a lot of great information. All right, time to get started. Okay, here we go. Like I said, we're going to be combining oil paint and pastel. How are we going to do that? I got this set from Arteza for free. They send me some free art supplies to demo and they are archival in quality. These oil paints there's a nice variety of colors. I think if you're an oil painter there are higher caliber or quality oil paints but these are great for purposes for experimenting and also for doing an underpainting. Now what I'm going to be using to put the oil paint on instead of a palette is a Jack Richardson. It's called a Gray Matters paper palette. I find these are incredibly helpful for using with oil and acrylic. They have a nice gray neutral tone and they're slick. They can take the water and you're going to see also inside here I want to show you real quick. They have a chart that's a real nice information with a color wheel, some color theory information, a little value scale. So it's really beneficial in that respect as well. Now what I've done I took a half a piece of that Gray Matters paper and I taped it on my board and also a piece of a surface I'm going to show you in a minute what the white paper is there but this is just the sample. Now anything about oil paint or acrylic and even watercolor is you don't have to use all of those colors they provide. You can mix colors and get a huge variety of colors and values by using just some a few selected colors and these are the colors that I chose. I chose let me see if I can read them here. Cobalt violet, ultramarine blue, cerulean blue, light green, mid-yellow, yellow ochre and crimson red. And I don't even use all of these colors while I'm doing the underpainting with oil paint but I thought I'd go ahead and sample them and demonstrate how these work.  I saw another artist doing this I think it was with oil paint. You can do this with acrylic as well. Keep in mind though oil paint dries very slowly. There's positives and negatives with that and acrylic paint dries very quickly. Again the positive and the negatives are if it dries here's the the the positive with oil paint drying slowly is that you don't have to worry about them drying up while you're painting. I live in Florida in the Tampa area and paints can dry up very quickly. Acrylic paints if you're outside working and oil paints you don't really have that problem with. Now the disadvantage is oil paints dry very slowly meaning that your artwork is going to take a little bit longer to dry. Now how do you get around this with the oil underpainting and not having to wait forever before you apply the pastel? I'm going to talk about that in a minute. Now with acrylic paint of course it's just the opposite. They dry quickly which is a negative. Again you have to kind of spritz it with water keep it moist or use this like a stay wet palette you can use but the fact that they dry very quickly also is a plus that you can get a second layer on pretty quickly. You don't have to wait so long like with oil paint. Okay here's all the colors. Now what I'm showing you here is not something I really used while I was working. It's just like a solvent. I usually don't like to use any chemicals but the solvent was to clean the brush afterwards. This is walnut oil and another artist shared with me that when you're oil painting you can use this natural product walnut oil to blend and mix your colors and and and work using oil paint straight from the tube they're too thick so you have to kind of dilute it with something to get different consistencies whether you want it thinner or thicker. So the walnut oil works great for that. All I'm doing you can't see me here is I'm dipping the little brush in the walnut oil and I'm grabbing just a little bit of the paint and you can see how it blends quite nicely. I have sped this up because it would get real boring if I had it real time. So same thing and all I'm doing is wiping my brush off with the paper towel in between applications. Also keep in mind I showed you that little solvent at the beginning that's what I used at the end to clean my brush or if my brush had some really dark color on it and I needed to clean it before putting it in the yellow I would use the solvent for that. Alright so here we're get I'm showing you here how you can an example of mixing colors in between the the green and yellow the main one I made like a yellow green in between the orange and the yellow I made like a more of a orange yellow. Now what I'm going to show you here is how you can make some additional colors and values. I think first what I do here is I just make a nice kind of a sepia by using a little bit of red orange and ultramarine blue. Make like a burnt umber. It's a nice like kind of a dark brown. Now if you want to get a good dark I don't like using black it's very flat and not very it's not a lively dark color. So often what I do is I will combine green, red and ultramarine blue. There's various ways you can do this to get a nice dark. But you see how dark that came out. I'm adding a little cerulean blue in there. Oh into that one. So you just play around with color and make you a little color chart if you're ever getting more into these types of paints. Now what I am doing here I'm adding a little white to show you how I can take the darks that I just created and make a nice gray. You actually can get nice gray tones once again versus using black out of a tube and white out of a tube. Your gray is much more beautiful if you combine some complementary colors and then add some white. Once again I'm not using all of these colors for the under painting I'm going to be doing but I'm using it as an example to show you the technique. This is what's called clear liquid gesso. It's a product that's used for various artistic purposes but it works really great for pastel painting because it has a little bit of a grit to it. Almost like when it dries it feels a little like sandpaper and that's really a great surface to use for pastels. So I'm showing you how I'm painting it onto these oil paints and how it's clear so the the color shows through but it's gritty so we can apply pastel. Now the gesso is dry here and I'm going to demonstrate how I am applying pastel over the clear gesso and how it actually does work and real quickly too I forgot to mention how did I get these oil paints to dry so quickly? Well I just took it in my bathroom and and shot it with a blow dryer. I'm pretty hot heat and hot heat and basically because I use the walnut oil and the oil paint I kind of it's a little bit more diluted perhaps than some thick thickly applied oil paint so I found that it did dry more quickly than normal oil paint because I applied it thinly. You will notice this more when I actually go to do the under painting you'll see my technique of how I make it much more thin and not real globs of oil paint. Now notice here that really this is a neat example for multiple reasons. First it's showing how yes I can apply pastel on top of this oil paint because of the clear gesso I put on top but another thing is I like to talk a lot and try to teach on not muddying up your colors and how really pastel can take on a life of its own. If you apply look at how I applied that teal color over that red if you see the teal off to the side it looks very light but on top of the red it's almost like it creates its own new vibrancy and color. I'm sorry that one kind of ran out of the video screen there but here's a close-up where you can see a little bit more of how the interplay of colors is so interesting and so painterly. We talk a lot on my channel about how to get a painterly effect and that's one of the ways.  It's another Arteza product and it's made for acrylic painting but I found it works great for oil painting too. It has a little bit of a texture to the surface and I've used this in the past successfully in applying watercolor acrylic and now oil paint. I think I may have tried acrylic inks on it. I can't recall that but anyway real quickly I wanted to give photo credit to Dana Brockert. She provided some lovely fall photos. Oh gosh maybe close to 20 photos in our Monet Cafe Art Group on Facebook. That's another group you'll want to join on Facebook totally free. It's a private group but you just ask to join and just say that you heard about the group from the YouTube channel and it is I think you guys comment below if you're a member in our Facebook group. I think it's the most helpful encouraging pastel group maybe art group all together on Facebook. I mean it's just there's something very special about this group of people so no matter what level you are you will feel welcome in this group and you'll learn a lot. But anyway so Dana provided all these pictures and I decided to use her photos in our monthly painting challenge. Every month we have a painting challenge. We have categories. We have prizes and currently we have a beginner and an advanced category but I believe in 2020 I'm going to introduce an intermediate category as well. But anyway thank you Dana for these lovely photos and also too let me know I'm not doing a lot of talking here about drawing techniques. I do have my own little tips and advice on getting an accurate drawing so if you guys on the YouTube channel here would like again I'm focusing more on a beginner series. If you'd like maybe a video or so focusing on better drawing skills let me know. That's how I know what to bring you guys so I'm very attentive to what your wants and needs are. Okay now it's time for the oil paint. Remember how I said I wasn't going to use every color. Now how am I going to choose my color palette or my underpainting? Notice that I'm pointing at all of those warm colors which there's a lot of in that photo it's autumn colors. What is the complement to that? Well you just look on the opposite side and it's a lot of blues purples and magentas so that's what's called a complementary color palette. Now what I'm doing now if you're brand new to this I'm providing or making creating an underpainting. I'm using the oil paint to create a complementary colors to go underneath the pastels. I'll try to talk a little bit more about that after I explain my techniques with these oil paints. Now what I did you saw me you'll see me do it again. For some of it I literally apply the walnut oil to the paper so I'm making the oil paint very diluted. It's almost a wash more than painting. That's why when I said at the beginning I'll tell you why it dries a little faster than the regular oil paint is because I'm applying it very thinly. All right so I've taken my ultramarine blue. I wish I had had my palette or my filming a little wider so you could see the colors I'm mixing. That's just crimson red and ultramarine blue. It makes a nice magenta purple color and I'm just literally staying on the cooler side of the color palette to create this underpainting because the photo my reference image has so many warm fall colors. If I was to a lot of times I'll do you may have seen many underpainting techniques I've done. I love doing warm colored under paintings typically because usually we're painting a lot of green in a landscape. While this did have a lot some green obviously in it it had so many warm colors I thought it would be neat to have a cooler underpainting. It would make the colors a little more vibrant. You remember how when you saw me applying the pastel just a little bit earlier on top of the the oil paints and how there's a neat interaction between colors. So that's one of the things that happens or one of the benefits of an underpainting is you lay down a foundation that your color your final color palette is going to interact with for more dynamic color. Now of course I'm using what would be called local color for the sky meaning local color just means it is what it is. The sky is blue so I just kept that blue because I'm keeping colors mostly cool. Now I say mostly cool but the magenta that I'm the red that I'm mixing in with the blue is a little is warmer. So I've got the cool blues and cerulean blue like a sky blue and a little bit of the crimson red to get more of a magenta color. Now I'm just getting kind of a general gray blue gray kind of in for the road. I add a little bit of some shadows later but for the most part with this underpainting and with the drawing that you saw I haven't drawn a single leaf I'm just getting shapes in. You're not focusing on a drawing you're focusing on big shapes and values and that's going to help you keep a painterly look and when you do these under paintings I don't know I just think they're magical. I love doing complementary under paintings just because I think the final color comes out much more vibrant and beautiful. All right I'm just going to keep painting here but again keep in mind this is a very thin application of these oil paints. I'm using a lot of the the walnut oil on my brush as I'm blending and mixing colors. Now I'm getting, now's where I'm getting in a dark. That's the neat thing about this too is sometimes when I do a watercolor underpainting you can't get really good darks unless you just worked at it for a long time because watercolor by nature are very translucent and not very opaque so it's a little bit hard to get your darks in but that's really a neat aspect about these oil paints is that you can fairly quickly get a nice value study and color study underpainting beginning to your painting and again this is one of the very basics of art in general is that darker colors or I'm sorry darker values are typically in the foreground and they dull out or get more pale in the distance. That's why you typically see me when I'm painting apply my darkest darks are going to be to the foreground and they just kind of get more dull as they move back. Often too that's how I'll work with my brush if I'm using a brush. I'll mix my darkest color and I'll start working in the foreground and as it gets out of my brush and gets thinner I kind of move to the background it creates that illusion of distance or depth. Again you see how some of my marks here or my brush strokes are thinner for the shadows and some were darker. So anyway as you probably can see here I was actually very happy with just playing around with these oil paints. So now I'm adding a little bit more of the warmth to the foreground just like I talked about value is darker in the foreground and paler duller in the background. Another art technique of that distance or perception is warmer colors are typically in the foreground and get cooler in the background that's why you see me adding on top of the darks in the foreground a little bit more of the warm tones. Now I just like I showed you before in our little oil paint example I just mixed up a good color to get a good dark. The tree trunks are pretty obviously the darkest thing in this image. There are some darks over on the right hand side obviously in those bushes and things. But again back to the oil paint I had so much fun with this that I really think I want to do another one and have even more of the oil painting showing through. Don't cover it up so much with pastel. I was in a little bit of an experimentation mode with this and I I really applied a lot of pastel. Now if you're watching this now and you're on the YouTube channel you're going to see this in its entirety but the part that's going to be on my Patreon page will be the pastel application. I'll give you a little snippet here on the YouTube channel but that's that's going to be the benefit. I'm just so grateful to my patrons there. The $5 a month I've said this before it may not seem like a lot to people but it's a lot to me because I really you know I'm not sure at this phase of my life if I could keep up the time that it takes to do these videos if I wasn't able to get a little bit of financial return for it and it also helps the channel get better. I'm able to buy more equipment and things that make my videos better so I'm very appreciative to you patrons but my point is that I want to give them something special. You know they're just doing it for support you know and really don't expect anything. That's the comments that I'm getting but I really love to to give back to my my sweet dedicated patrons as well so that's why the full video with the final steps of the painting the pastel part will be on my Patreon page and in our Patreon Facebook group. So anyway I think you can see that this was actually kind of neat. I really liked just this cooler with the warm tree magenta color underpainting by itself so maybe my next painting demo will be doing another one of these with less pastel application just a little bit on top of it. I don't know it's fun. So I'm about to wrap up this oil painting portion of the underpainting and it's really important to keep in mind that when you're using oil paint you need to clean your brushes out. I'm not even using an expensive brush here but a good product for that it's called the master's brush cleaner and preserver. Now I'd already taken my brush and cleaned it with the solvent that I used. You can use paint thinner or whatever outside because I didn't want to smell it but once I got the brush fairly clean I simply just kind of move it around in the brush cleaner and get all the bristles coated and then I just kind of clean it off really good with a paper towel and that just ensures that the next time you go to use your brush it's nice and clean and ready to go. Okay now just as I did in the little example or the sample at the beginning what do we do to get the pastels to stick to this. Again I did a quick blow dry to this to get it dry. It's dry. It dried fairly quickly actually. I was surprised. So again back to using the clear liquid gesso to apply to the top of the oil painting and I was really happy. Sometimes when I apply gesso it causes colors to bleed. It really didn't bleed at all and I know it looks a little cloudy here but it dried fairly translucent so you could see the underpainting quite well after. And again this is a quick little side note here on the clear gesso. I've had people ask why can't you use regular gesso instead of clear gesso? Well for one reason your underpainting wouldn't show through because it's not clear. For another reason there's something I don't know why but the clear gesso has the little sand to it the grit and that's what makes the pastel stick. And now that it's dry it's time to apply the pastels and this is the section where the full extended version will be only on my Patreon page and my Patreon group on Facebook. But I'm providing some little video snippets here so you can get an idea of the content that I'm going to be including for my patrons. Once again I'm going to continue to bring free video tutorials here on YouTube and I am going to focus a little more in these next upcoming videos on a beginner series. I've gotten a lot of great feedback from you guys. And just because I have a Patreon page now doesn't mean I don't truly respect all of my YouTube subscribers. It's just been an amazing journey for me over these years of creating videos and how you guys bless me with your comments. The fact that you have got over 21 close to 22,000 subscribers at the making of this video and that's I'm just amazed at that and I'm just so thankful for each and every one of you. So thank you guys for all of your support being subscribers, members on Facebook, or members and patrons in my Patreon group. I am so thankful for each and every one of you. So happy painting!


Good evening everybody. We're excited to have you here tonight. My name is Mike Hopper with HBO Corporate Affairs and on behalf of the LBJ Library and HBO we'd like to welcome you to tonight's special presentation of which way is the front line from here the life and time of Tim Hetherington. We're really excited to be able to present this film for you. We're honored to have the film's director here tonight so we hope that you can stay with us. There's going to be a great discussion after the film and just want to say a quick thank you to the LBJ Library for partnering with us. They give us an opportunity to get in front of you people and and you're our cheerleader for films like this so I want to thank them for that. At this time I'd like to go ahead and get started. If you would please join me in welcoming the director of the LBJ Library Mr. Mark Uptigrow. Thank you Mike. I want to offer a special welcome to those members of our audience who have served in the military or who are currently serving in the military. We appreciate you being here and we appreciate your service to our nation. The LBJ Library has had a longstanding partnership with HBO. In the past several years alone we've collaborated with them on screenings for Path to War, Game Change, Defense and Thurgood. Tonight HBO and renowned war correspondent, author and director Sebastian Younger, bring us a first look at the documentary which way is the front line from here, the life and time of Tim Hetherington. The film will air on HBO on April 18th and follows Younger's close friend, photojournalist and fellow filmmaker Tim Hetherington who was killed in the Civil War in Libya just two years ago. Younger is best known for his as the works of that include The Perfect Storm, A Death in Belmont and War and his work in tonight's documentary is in keeping with the thoughtful provocative films produced by HBO. Following the credits Sebastian and I will have a conversation about this very powerful film. Ladies and gentlemen please join me in welcoming Sebastian Younger. Thank you so much. It's a pleasure to be here. Such a beautiful city. Any film is a collaboration by many people unlike a book. I usually write books but films are collaborations and there's no way to make a good film without many good people involved and I'm probably not going to go through them by name because most of the names it won't be meaningful to you but I just want to say I had an incredible team and I do want to thank HBO for a really wonderful partnership in making this film. They decided within about 20 minutes or 30 minutes in a conversation that this was a film they wanted to support and they've been an amazing partner ever since so I do I do want to recognize them. The film is about my good friend Tim Hetherington. We went through a lot of good times and a lot of hard times together in Afghanistan and later we made Restrepo and we wrote it all the way to the Oscars. We watched in sort of puzzlement as the Arab Spring just exploded while we were on red carpets in Los Angeles feeling quite out of place and we decided we had to rush overseas to continue covering these important stories. At the last minute I couldn't go. Tim went on his own and he was killed. He went from being an Oscar nominated director to dead in combat in six weeks which is has probably never been done before and I hope it's never done again. He was a good friend. He was a brother. He was 10 years younger than me and I learned an enormous amount from him. I hope you learned from me too but I know I learned an awful lot from him. He was very he was incredibly brave on the battlefield and off as a photographer as an artist. He was really sort of intrepid and daring. He was incredibly curious about the world and I would watch him just talk to people anywhere. I mean it could be an Afghan you know an Afghan villager or a soldier or it could be a taxi driver in New York. He was just curious about the world and he had just an endless sort of reservoir of compassion for what I came to think of as the the sort of quiet dignity of the human struggle. He was very very attuned to that and when he took photographs what he was really doing was connecting to people. The photograph was kind of an afterthought in a sense. What he really wanted was connection and he got it over and over again. I learned a lot from him. I wanted to make a film that would allow other people to learn from him as well even though he's no longer with us. So thank you and I look forward to talking to you afterwards. Take care. Ladies and gentlemen please welcome again Sebastian Younger. Thank you. Well congratulations. That's very very powerful. Thank you very much. How did you come to know Tim Heatherington? I'd worked for Vanity Fair for many years mostly covering wars and I had this project of following a platoon for one year in combat and they okayed it. I wanted so I was on assignment for them but I wanted to write a book and make a documentary film and I started that. I was I took one trip, shot a lot of video. I was with a photographer who just didn't work out that well and so Vanity Fair suggested some other names. One of them was Tim. I knew his work from Liberia because I'd been in the Liberian Civil War when he was there except I was on the other side with the government and had an equally miserable time and so I knew he was good in combat and when I talked to him on the phone I said look the stuff they're doing out there the American soldiers is physically really really hard so you have to be in really good shape. Are you in good shape? And he said well when you meet me you realize I'm rather lean and typical British understatement and so on my second trip I started working with Tim and then he kind of fell in love with the project as well. He started shooting video and we just started alternating trips. You had been on the front lines many times earlier and you'd known a lot of war correspondence. What made him unique? We heard a little bit about that in the film but in your view what made him unique? He I mean he was very brave and he was also quite cautious which don't always go together and he also he was not interested in war he was really interested in people and what happens to people in war. It's very combat is very dramatic and it's very easy to get distracted by the sort of repetitive drama of combat and just take a lot of photographs of guys shooting guns and that's actually not that interesting and Tim sort of saw through that and what he was really interested in was the human drama that plays out in war in such an intense form between men in the platoon between you know in refugee populations whoever it may be that's what interested him and that made him quite different from a lot of combat photographers. The film talks a little bit in the film about his destructive tendencies and he took up photography I think to in order to alleviate those. But in a way you have to have destructive tendencies to go into a war zone. I wonder how do you overcome your fear of death when you go into a war? I think some people do go to war for self-destructive reasons. I don't think Tim was I mean he was referring to his 20s when he how should I put this he had to be enjoyed his 20s and I think eventually he realized he had to kind of grow up and focus and he did brilliantly. How do you deal with your fear of death? I mean how do any of us deal with our fear of death you know like nothing happens in combat that doesn't happen to everybody eventually. But you're not seeing it every day when I go out every day I'm not I'm not faced with my own mortality as you are when you're in a foxhole or on the front lines. It's I mean in a sense yes in a sense no in a sense you're just choosing not to think about it right and and in a war I mean what happens with me and I think it's pretty common. There's kind of a switch and you're worried and you're worried and you're worried and then there's a point where I was always particularly fearful before patrols you know or you know like multi-day operations that we're going to go might go badly like it was in the lead up that I was particularly anxious and there was always a point where you have to jump out of the helicopter you got at whatever there's always a moment where whatever's going to happen is going to happen and when you cross that threshold it's actually kind of a relief and you stop being scared. It's a kind of denial and a kind of fatalism and I recognized it in combat because you know I was a climber for three companies I took all through my starting my mid late 20s I started working for tree companies taking trees down so I'd be 80 feet in the air with a chainsaw on a rope taking down big sections of tree you know complicated dangerous job and there was always a point where if you're topping out a big tree if you don't cut it right it can go quite badly for you and there's a moment you do the front cut and there's a moment where you start the back cut and you're setting in motion a process that you can't stop and the act of turning on the saw and starting the back cut is was always very hard for me and I would get to myself to a place where I didn't care about the outcome and I found that I sort of I would kind of empty empty feeling and I recognize that in combat and that other soldiers I talked to also said like that's it's an emptiness and that you can achieve and I think all of us deal with it that way. Do you need that psychology in war? Yeah you do. Yeah I mean if you're focused on what can happen to you if you care what can happen to you there are moments where you won't be able to function and yet you said when you left the war zone when you left the platoon you were with you missed it how so? Well I mean those those things that you're doing are very they're very dramatic and meaningful they have enormous consequences and as a journalist you do feel like you are providing this crucial role of telling the world what's happening in it you know that's you know that's that can be pretty intoxicating to be in that role it feels very important and in addition their relations between people and situations like that are very intense and and kind of unbounded and that also is quite intoxicating and I think when I mean a lot of the soldiers we were with really missed the war and what they were missing I think wasn't the killing and the risks and the bloodshed it was the connection that they all had which you really can't reproduce in civilian life and they missed it.  You chose not to be a war correspondent any longer why? Well I found out about Tim and within about an hour it was in shock right and I found out on Twitter someone called me and said Tim might have been hurt in Libya and I didn't know what to do so I searched his name on Twitter and Twitter is so if sort of ephemeral and insubstantial and death is so much the opposite of those two things and the finding out about the death of a friend on Twitter is like I hope that never happens to me again but with I sort of I went into shock you know and within about an hour I just made the decision I wasn't going to cover war anymore I you know I had two or three really close calls and but more importantly I am I sort of sensed this tidal wave of grief that was coming towards everybody about Tim and everyone who cared about Tim there was this just dark tidal wave of grief coming hadn't really hit yet right we're all in shock and I just I was like this is gonna be awful for a long time and I just had the feeling that I didn't want to put the people I love through that kind of tidal wave like there's a point in your life you know not at 25 not at 30 but it's a point in your life where you have to stop gambling with other people's lives and when you lose your life in combat it doesn't really matter to you you're actually gambling with everyone else's emotional life you and Tim saw the war in Afghanistan as few have in your view have our efforts in Afghanistan been worth the sacrifice and blood and treasure that's an I mean I don't know how to evaluate that what you trade a human life for so it's hard to answer the question worth it but let me as a friend of mine said journalists don't tell you what to think they tell you what to think about and so let me answer it in that context the we would not have killed bin Laden without being in Afghanistan like period end of sentence you're not gonna fly SEAL Team 6 from Virginia into Pakistan into Afghanistan to kill him and get out we could not have destroyed Al Qaeda without being there on the other side of the equation and we haven't been attacked in 12 years almost 12 years and there have been many many attempts and I think one of the effects of being in Afghanistan is we really degraded al Qaeda's capabilities I was completely against Iraq Iraq was like I refused to cover it I was so against it in Afghanistan I thought it was necessary and it might protect us but also I'd been covering Afghanistan since the mid 90s I really cared about Afghanistan a lot and you know my first trip there in 96 I never imagined the US would be involved militarily in that country and after 9 11 the Afghans were so grateful I mean I was there when Kabul fell when the Taliban were driven out of Kabul and I was getting hugged by Afghans on the street because they were so grateful that America had kicked out the Taliban and that country I don't know what is in the future none of us do obviously but that country is so much better off right now and it's also the lowest level of civilian casualties in 30 years because of NATO security forces so is it worth it or not that I can't answer but those are the things that happened because we were there Afghanistan has been called the graveyard of empires can we establish democracy in that part of the world in your view I think it the what we have helped establish there is as much a democracy as in many allied countries like Pakistan Mexico I mean we do business with many many countries that have a very very funky system you know and Afghanistan is going to be one of them I think you know it's not going to be Wisconsin you know I mean that's not realistic for that area of the world but I think if we can put it into the realm of many other countries that we take seriously who are participating in in the community of nations I mean yeah I think it's possible as a result of Tim's death you were the catalyst for a medical training program for freelance journalists can you talk a little bit about that yeah I mean Tim as you saw in the film he was hit by shrapnel and he bled out he was not necessarily a mortal wound Chris Hondros was hitting the head with shrapnel that was a mortal wound although it took him a while to die Tim just bled out over the course of four or five minutes and none of the freelancers around him knew what to do none of them had any medical training and so when I found that out I decided to start a I haven't had any medical training and neither had Tim you know and freelancers do probably 90% of the frontline reporting and they are they have no training and so I started a group called reporters instructed in saving colleagues risk RISC risk training org is the website and we're a nonprofit and we we provide four days in a hotel in New York four-day training session and a medical kit for experienced freelance war reporters we've just finished our third session so thus far we've trained up 72 people and you know 28 journalists have been killed in Syria alone this is a very dire situation people are dying and so we're training as fast as we can the real frontline troops of the journalism world so that if another Tim happens and unfortunately it's entirely likely that people might have the equipment and the knowledge to help treat them have you seen any success from the program to this point no one has saved the life yet and I mean in some ways thank God you know like you're like if they never have to use it that's that's entirely a good thing although one of them was at home and this elderly gentleman fell down some stairs and was very badly hurt and he sort of rendered aid so you know it's just like it's maybe they'll never have to use it I don't know but they the deal I have with them is once we it's entirely free they just have to get to New York right and as a once we train you and give you a medical kit you have to commit to always having that medical kit on you in combat you can't leave it in the car you can't leave it at the hotel room and so and they're doing that they send back photos of them in Afghanistan and Syria and wherever else and there's our little medical kit and it's pretty cool and if you're feeling generous please check out the website risktraining.org you know we're doing this 20 bucks at a time but we are getting it done this airs I mentioned to the audience on the 18th of this month on HBO what do you hope audiences derive from this film well a few things I mean I just want to remember and honor my friend Tim and I wanted to make a film that would allow other people to be affected by him and his work now that he's no longer around to do that in person I also wanted to continue a little bit of the topic that he was sort of intrigued by why is war so captivating to young men like why are young men drawn to war to combat and you can see it in Liberia you can see it in North Africa you can see it among American American soldiers it like what is it they're drawn to and what are the consequences of it it's very politically incorrect thing to say but it's the truth of the matter and I feel like we really don't have a chance of reducing the level of violence in the world until we understand why violence among other things is compelling and I sometimes do this with audiences I'll I'll say you know who here's horrified by war and of course you know everyone raises their hand and and and then I'll say okay you're all horrified by war who here is paid $12 to be entertained by a Hollywood war movie just about everyone raises their hand so war we have a very even completely compassionate sensitive people have are interested in war it's a very very compelling thing and we have to unpack that in order to have a chance stopping it I think particularly young men have romantic images of what war might be in some respects so what was what most surprised you about war when you were exposed to it for the first time I was surprised by how mundane it was you know like my first war was in Bosnia and you sort of picture war you know in what you know what you've seen in Hollywood war movies but it's act you know like a lot of normal life goes on in war I mean if there's a civilian population and I don't mean you know D-Day but you know Bosnia and Sarajevo I remember having dinner it was a beautiful summer evening and we were having dinner outside in a suburb of Sarajevo called Dobrinja and it was a real frontline situation and we were having dinner outside with this family that we knew lovely soft summer evening and meanwhile like tracer rounds were just streaming down the street you know like about 15 feet away and we were safe because we were behind the building we were just watching these things go by we're completely safe and it was normal life family having dinner and tracer fire going on you know like simultaneously that really surprised me you were telling you I read an interview where you were talking about one of the people in the one of the members of the military that you were with and during a particularly mundane time and he said man I hope we get attacked today but did that happen often did they want to engage did they did does your adrenaline sort of pump and do you want to get into the fight well you have to understand they out at Restrepo there everything else was taken away you know there was no internet there was no phone there was no television there was no girls there was nothing there was no sports there was nothing that young men like and kind of the only compelling thing to do out there was fight and the fighting happened when the enemy attacked for the most part and so you were kind of at their mercy and if they wanted to just bore you to death for three weeks they could do that you know and and it drove the guys crazy and and they just be would be moping around like God can we be attacked please so you know and you know and being attacked in an outpost I mean you can get killed in an outpost absolutely and we you know there were some real fears of being overrun actually so very small position you know and but that is very very different from being ambushed in the open like no one no one wished for that that's really scary do you keep in touch with those guys that you're with at Restrepo some of them yeah I mean I was closer to some than others some I hear from once a year some I hear from once a week I mean yeah your storyteller was comfortable with the written word and and with film what's your next project I'm doing another film for HBO and I'm writing another book on the same topic like war in Restrepo but it's a I can't tell you the details it's a little bit secret it's it's it's a tiny bit illegal not immoral but a tiny bit illegal well we hope you'll you'll come back and share that with us as well ladies and gentlemen will you please join me in and thanking our guests thank you thank you