Welcome to Monet Café! I'm artist Susan Jenkins and I'm really happy to bring you this tutorial where I will teach you how to intensify color with soft pastel. It's a question I get all the time. The reference image is a lovely winter scene with a lot of neutral color that I decided to intensify. And I want to thank the photographer who shared his lovely photo on pixabay.com Sebastian Nicoyel. And if you haven't yet subscribed to this channel I hope you'll do that right now and click that little bell icon to be notified of future videos.  It comes in a set of two. I love these square six inch by six inch sized pieces of black paper. They're water-friendly. You can use oil acrylic. And what I'm going to be using on this is clear gesso by Liquitex. Yay! So Bob Ross is excited. Now the reason I'm doing this is clear gesso has a little bit of texture to it. Almost like a little bit of sand in it. You can kind of see it when I apply it. I apply like two coats and it dries clear. And what that does is it gives me a little bit of texture to apply my pastels. Now these are Prismacolor new pastels, spelt in you pastels. And I'm just using this kind of medium value blue to get a general sketch in. And once again this clear gesso. A lot of times I apply it after I've already put down what I call an underpainting. But in this case I really wanted to do some negative painting which is painting the spaces between things. And black paper is awesome for doing that. So I thought with this one I would just go ahead and work on the black surface with the clear gesso applied. Now the last one that I did, the last video, I used this black paper and I did what was called an oil wash. I used oil paints and pastels together. And I missed a little bit of the footage where I did the oil wash. So not to worry. I have another tutorial coming where I do another oil wash with soft pastels. I think that'll be the next one that I upload. So I am just getting in general shapes here and I like to keep it really sketchy. Now with roads I often, or paths or whatever, I often like to keep my form a bit more geometric rather than curvy. I think it has more of an artistic feel to it rather than these curvy winding roads. So all I'm focusing on, I kind of zone out when I'm doing a sketch and just get in generalities. Also it really helps if you're new at art. It helps to sketch things out when you have your reference image the same proportions as your drawing surface. Now mine doesn't look that way here because I cropped it. I cropped my reference image to be square just like this paper. And now I'll be using a combination of warm tones to get this sky in with the Prismacolor new pastels. New pastels are harder than a lot of pastels and they're really great for doing an underpainting or initial layers. And that's because they don't take up a lot of the tooth. With soft pastels the reason we need the grit is it'll fall right off if it doesn't have something to hang on to. And some of the professional sanded papers they're literally like sand paper and they hold lots of layers. So by putting the new pastels down first you ensure that you're able to get more layers afterwards. You haven't filled up all of that tooth of the paper. And so what I'm doing now is I am notice I'm not getting super specific about trees and shapes. I'm literally just squinting my eyes. I'm looking at colors, values and shapes. And I kind of zone out and I forget about tree leaves and needles on pine trees. And I'm just painting shapes and colors right now and values at this point. So I do come back and reshape things a little bit towards the end. But I wanted to go ahead and get in a general beginning for this sky that would kind of set the mood. Now what I'm going to do is we're going to go through this whole tutorial. This is real time. A lot of this is real time. A little bit towards the middle here. I'm going to speed it up so that we can get to the final what I consider the real lesson in this is more towards the end where I really start to address the sky. So right now this is just some generalities. I know that I want to get in. I've learned over the years, many years of painting that I don't paint what I see. I reinterpret it with color. I intensify color often. But I'm using the rules of nature, which I'll talk about soon. Now, I used a few products in a video not long ago where you can liquify pastels, water, alcohol, and this product, mineral spirits. Now in hindsight, I really wish I'd just left the pastels alone. But I was put on my scientific experimentation hat again because what this mineral spirits did here, this is typically how you use it. And on white paper, it actually intensifies the colors. And on this, it just kind of made them kind of bleed a little bit. But not to worry when I blew it dry, it looks real dark when you put it on. But when it dries, it goes back to the original color. Now, why would I do this? Well, in this case, I don't think I should have. But in a lot of paintings, I really want to soften things up and give it more of a moody impressionistic feel. So wouldn't do this again. But now you can see when I blow it dry, it did kind of soften things a little bit. And, you know, no harm done because I can paint right over all of this. Now, what I'm doing, it might sound strange to go in with darks on a black paper. But actually, this paper is black, but it's not as dark as some of my pastels. And this dark blue pastel is kind of like a dark, maybe blue. I believe mostly for this particular lesson, I am using the Sennelier 120 half-stick set of the Paris collection. I do use a few other pastels, such as the new pastels I used at the beginning.  I am trying now with every painting to give my color notes. And I make a little diagram of all of my colors and which manufacturers they're made by so that my patrons can follow along or pick colors that are similar. Now, if you don't know what Patreon is, it's a really neat way for people to support artists and other creative people. And it's a safe and secure way where you can basically contribute $5 a month. And my Patreon page and my patrons support has truly been what's helped me keep these videos coming. During COVID, my husband and I lost our regular jobs. And if it wasn't for my patrons and my Patreon support, I definitely couldn't keep these videos coming. So thank you patrons. By the way, I have a special contest going on now. If you become a patron, you could win this painting. And another one, I'm giving two original paintings away. They just looked good together. So if you've considered becoming a patron, now might be the time to do it. There's no long-term commitment only with this contest or promotion. You have to become a patron in the month of December for $5. And then you have to still be a patron on January 1st because that's when I'm having the drawing. So I'll talk more about that at the end. And everybody gets my free 2022 calendar with my original artwork. So on January 1st, all of my patrons will get that. It is a digital calendar. I mean, you have to print it out, but I'm going to give some neat things that you can do creatively. All right, you see I've added these darks in here. And if you just look at the reference image and squint your eyes, I mean, that's all I'm doing too is I'm looking at where the darks are. Definitely those trees and even coming into the foreground area and along some of the edges of where those ruts are in the snow on the path there. Now here's where the magic starts. This is one of these gorgeous colors that's in the Sennelier Paris Collection. And I often say I have numerous titles I could give videos, but I need to stay concise and stick to one about the dramatic sky. But I could have called this snow isn't white. And I mean, it is white in the right lighting. But in so many cases, snow is in shadow or it can be in the sunlight and it can have a little bit of a warm color to it. So I'm just using this little teal color middle value pastel to kind of scumble in. Notice my marks are very light to the touch and kind of sketchy. I like that look, especially at the beginning. And it really once you learn to get that light touch, you're going to save yourself so much frustration. Your colors are going to appear more fresh and you'll also have the ability to layer more on top. If you're very heavy handed, you fill up the tooth of your paper very quickly. Your pastel colors start to look muddy. Pastels literally have like these little crystals in them that sparkle.  I'm going to do another video one day on, I think I'm going to call it 10 reasons why soft pastels are my favorite medium. There are some very unique things about soft pastels. And I think that's why so many people have fallen in love with them. Now, if you've been on my channel long, you know, I work in other mediums. I happen to love watercolor too. And I've really been enjoying oil, the little bit I've played around with it. So you never know what you'll get on this channel. All right. So that little teal pastel was used for the road and some of the snow on the trees. And this set I love. It is the Mount Vision Thunderstorm Gray set. These are beautiful neutrals. Notice how they're all kind of dull in color. They're neutral.  What neutrals do is they allow the bright colors, the bold high intensity, high saturation colors to really shine and do what they need to do. Which is say, hey, look at me. I'm the focal point. And so the neutrals help to be the supporting cast to direct your eye to those more punchy colors, as I like to call them. So I've been using these Mount Vision Pastels here that are a tad more neutral. I mean, they're still very pretty colors. And as I mentioned, I'm going to talk a little bit more about the concepts and the principles for painting the sky towards the end. A little bit about color temperature, value and color intensity. All right. Now I've got a pastel that is a little bit warmer. Can you see it looks a little bit more mauve, very neutral, though. And the reason I'm using that color, it's these background trees, they are, I'm going to develop them a little bit more, but they are near the sun. And therefore they would have a little bit more warmth to them. Okay. Now I've gone to this beautiful, this is part of the Mount Vision Pastels again, the thunderstorm gray set. You see it's got a hint of a lavender color to it. Also that's even a little more warm than say like a blue, a cold blue. Lavender has a little bit more red in it. Now I'm going down towards the bases of some of these trees. I know they're, these are the ones that are a little further away, but they're still going to have some dark on the shadow side, on the side that's more like where their viewer is and also down where they're in shadow more towards the bases. Now I knew I had not really gotten all the shapes in or the values incorrectly at first. And when I was making that sky, I lost some of the tree shapes. I wasn't worried about it because I knew I could develop them like I'm doing later. Notice that one really tall pine tree way in the back there or evergreen, some kind of tree. So I'm just getting that, I liked it. I thought that was a good point of interest. And now I'm just making, with evergreens and pine trees, the branches seem to kind of go in a little zigzaggy way. And I like to keep these just spontaneous and I'm really just sort of looking at the shapes of the tree. I don't get all caught up or hung up on it being exactly like the tree as long as it has that general essence of evergreen or pine tree. And so that's all you need. Often I think we think art is harder than it is. It's really just shapes and color, you know? So we don't, and often too, we don't need to paint everything that's in the photo. We want to preserve the detail and the higher contrast for our focal point. And for me, even though this road brings you in with some very interesting color and sketchy kind of quality, it's that sunset in the back. Those beautiful glowing colors that are going to be the main focal point. Now you see I've just scumbled across some other of this mountain vision. It's another neutral. And I know I'm using colors that you wouldn't, you know, just at first glance think are in this reference image. But I am using the reference image as a guide. And I'm using the logic and truth of how color behaves in nature and in a scene like this. For example, if you've got cooler scenes, things that are in shadow, your colors are going to be cooler. I know that that road, if I was to go in with Photoshop and grab like one of the lightest lights off that road, it's really just going to be kind of a dull gray. And but it's going to have some color to it. You know what? Let me do that to prove my point. Okay, here I am in Photoshop with my reference image. I'm grabbing the paint brush tool. Whoa, that's that brush size is way too big. So I'm going to reduce the brush size. This is not a Photoshop lesson. It's just a way to prove my point about color. Now you see this little triangle over here to the upper, far, right. That's going to respond to my color picker. I just did something where my tool turned into a little eyedropper and it chose the color that was in that sky. Now where I put it over there, the little circle on there, that's the color. Now if you go to the left, colors get more neutral. I'm talking about the little triangle. If you go down, colors get brighter. And so what I'm going to do, let me grab something in the snow. I'll pick right there and you'll see it change over on the little triangle. That's the actual color. Okay. See, I told you it's kind of a gray, like a dull gray. I don't know if you can see this on your screen size, but if I move horizontally in respect to the triangle, it's going to make the color brighter, but keep it the same value. So what I just did is I punched up the color in that area, but kept the value the same. I hope that makes sense because I'm saying that all the time when I'm doing lessons is you can get creative with color if you get the value right now. Picked another area. See how dark that area was? But if I move over to the right and choose a color that's a little bit more vibrant, I can use it in the same area. And it makes sense because the value, the lightness or the darkness is the same. So you want to get your value right, but you can intensify the color when your value is the same. So hoping that makes sense. I'm just clicking around so you can see how it moves. And also I can change that circle that goes around the triangle. I can move it and make a color warmer. I just made it more teal. And so I kept the same value, but I changed the degree of coolness or warmness to the color. I wanted some teal in there, but I have my value correct. Again, I know this is a real fast-paced Photoshop lesson. Now I decided to cool it off and put some purples in there. I probably got that one a little bit too light. And now if I wanted to give a little more color to the light areas of the road, same thing. I can use the color picker. I can choose a color that's a little bit more vibrant within the same value, same lightness or darkness. And I can make the road a bit more colorful and interesting. So obviously, we're not going to be doing this in Photoshop. We're doing it by the pastels that we choose. Go for the value that's correct, but you can intensify the color a bit and don't overdo it. Okay? I'm probably even overdoing it with this example just so you can see it. But if you just punch up the color, that's why I like that word. Just a little bit and keep the value the same. Your paintings are going to be more vibrant with color. Now I'm going to do the same thing in the sky. I'm going to zoom in a little bit though so you can see it. So I'm going to do something similar here. I'm going to choose one of the RNG. I've already done a little bit of it actually in this example. I'm picking some of the yellow and I'm actually making it a little darker. Now this is a case where I am changing the value a bit. What I do with sunsets is I know, I know the principle of sky holes is where when things are filtered or they've got leaves and branches and everything in the way, the colors seem to get a little darker in value. And so I purposely intensify that when I'm doing sunsets. I think of my source of light, which is the sun, and I know that it's going to be bright, but down where the trees are, it's going to be a little darker and I make it a little more rich. Again, that's my focal point. Now I'm playing around with some color. You see how I added some pinks there? Now, why would I move towards pink as I move away from the sun? Basically, I'm just using the same principle as I mentioned before. Consider the sun. Anything near the sun is going to be warmer. We've got oranges, reds, yellows. As things move away from the sun, they cool off. And if you just think of the color wheel, colors are going to lean a little bit more towards pink as they leave the yellow, orange and red area. Then they gradually will turn to purple and gradually to blue. So I'm using the principles of the color wheel with respect to light. And also, right now I grabbed a little bit of blue, kind of a grayish blue. The upper heavens are usually just a little bit darker. So I'm using my artistic license to darken that up a bit. It's going to create it more of a mood. And usually the upper heavens are going to be cooler. And why is that? They're away from the source of the sun. And if you just use some of these principles, once you learn them, it's like I always say, painting isn't hard. It's just learning some rules and learning how nature behaves. All right, so let's get back to the painting. And I will talk more about those principles when I get back to the sky again towards the end of this. And once again, most of this is real time. I'm going to speed up in just a bit some of this middle section so we can get to talking about that sky. And notice too, I'm using these, now that's a nice cool blue. It's almost a pure ultramarine blue color. And it's just such a nice cool color to use for the snow. Again, the snow is, I'm not choosing to use whites or grays for snow in every part, you know, in some parts. This is a little bit more neutral, a little more gray. And again, you need neutrals for other things to stand out. And here's where I'm going to speed it up just a tad. This is not overly sped up. You should still be able to follow. And I'm going to add you some nice music until we get back to that sky and talking about how to create the drama and intensity for a beautiful colorful sky that makes a clear focal point. All right, guys, enjoy the music. I'll be back. Oh, I hope you enjoyed that music to my painting process. One of those songs was pretty lively. All right, now I'm going to move in to do more of the sky. But I wanted to slow it up here to show you that I'm adding a little bit more dark to some of the tree trunks. I still have some of the color principles going where the trees towards the back are a little more lavender. They're catching a little bit more of the sun. They're going to be warmer than the trees in the foreground. Now, here's back to that principle that I showed you in Photoshop, where I punch up the color. Now, this is where I've been very light-handed for most of the painting. But I'm giving a little bit more pressure here because this is my focal area. And I'm doing what's called negative painting here. I'm painting the spaces between the trees. And I'm just making these little marks. But the darkest ones were down deeper where they would go into the branches. And as they get more of where there's open spaces, they get a little bit lighter. And of course, where the source of the sun is, you're going to have your most yellows or lighter colors. And I usually don't go light as in white, what your brain might say. I go brighter, meaning it's still a lighter value, but it hasn't lost its color intensity. And so, as I said before in the Photoshop example, and now I'm using kind of a mustardy color, I want to transition between that red and the lightest or the brightest yellow, I should say. So, I'm moving a little from red to orange to my lighter yellow. And now, again, I'm using this, still where the sun might be. I'm trying not to get too far away from that sun, but where the yellows won't be quite as light in value. Think of it again, like the color wheel, radiating out. Now, I am adding a little bit of this to the path. There may be some of that sun that is peeking through some of those trees. It wouldn't be much. And I think this one was a little bit too light. I kind of tone that down afterwards. But, yeah, you might have some of that light cast onto the road. But consider, that's why I always said, become a student of nature and look at your surroundings. It's really just how it behaves. Now, here again, getting away from the sun, that's why I went more towards pinks. It's on the color wheel moving away from yellows, oranges, reds, then you're going to get to pinks. Then you're going to get to lavenders and purples. Now, I'm using this lavender, this is part of the Sennelier set, to catch some of that snow that's on these branches. Once again, I'm not going for white for snow. It is lighter, but it's not a white light color. And I thought this color was perfect for just dancing around and making some indications of snow. Now, I grabbed this little bit of a teal color. I thought that would just be interesting. It's a little warmer than a blue and I thought it just made a neat combination with some of that blue and that pink I had already put down. And that's the beauty of pastel layering.  And that's why you don't want to have such a heavy hand, because you destroy that. You destroy that ability to see the other colors peeking through each other. So again, just doing a little negative painting, carving into some of these trees. And I don't get overly carried away or worried about if all of my little shapes are just right. I just look at where it would feel artistic, you know, and what might just look painterly and loose. And this is a little bit of a lavender pink. And again, I'm getting a little closer to the source of the sun. And I wanted to lighten up some of the sky. I felt like it was a little too heavy. And this lighter value was a good transition. So I hope those principles I've described helped. I know I destroyed sunsets and sunrises when I first started painting with pastels and I remember studying other artists. This was back before I had a whole lot of, there were many YouTube videos. I mean I'm old guys. And so I had to really just study paintings and look at what they were accomplishing or doing. All right, so you can see the transition from the reds to the oranges, to the yellows, to the pinks, to the more lavanderies, to finally up to the blues in the heaven. Now again, I've got, this is my little new pastel. I just snuck in a little bit of those darker colors. Once again, in the tree negative spaces, especially when they get down towards the trunk where it's getting deep into the tree, those values are going to get darker. And I reserve the right to, or the tendency to over accentuate certain colors. I just wanted it in a few areas and mostly was that first red that I put down. That really was the bam. That red, in contrast with the cool blues back there, that is one of the focal point strategies that's going to really cause the viewer's eye to go there. And if you haven't seen it, I have a video. I really studied a lot to create this video. I think it's called Five Ways to Create a Focal Point. And that is one of them. It's color contrast where you have opposites on the color wheel. And now I kind of dulled out the sky in the upper heavens. Why would I do that? Well, if I had all this drama and color intensity in the upper heavens, your eye would go there. It'd be bouncing around all over the place. I want to reserve it for that end of the road. I realized I had lost some of my tree branches. That evergreen in the front was a little bit bigger. And so, you know, the great thing is even with this clear gesso, look at the layering I've been able to achieve.  You can work on regular black paper. It doesn't seem to curl as much. By the time I'm done, these really flatten out nicely. And something about it being made for acrylic and oil paints, it just really receives the clear gesso very well. And I'll definitely use these again. And artesia products are, they're affordable. So I do have, just so you know, I have still in the month of December this painting and the one before, I would say is a little more intermediate level. And I wanted to bring some for my beginners. You beginners are so appreciative every time I do something focused for you. So I created four paintings on watercolor paper, a very affordable surface, and show you guys how to break it down, simplify your subject more. These paintings are not quite so detailed and just easier, you know. So, and I have fun with them. They're real loose and lively. So those are coming soon. I tell you what, creating the videos really takes longer than the painting.  So I now, wait, I got to say one more thing. You see, this is like a neutral, almost green. And I thought that would be kind of interesting back there. Once again, green's a little warmer, right, than the blues. So that green, closer to the sun, the sun is going to make things appear more of what their real color is. And we know these trees, most likely in the light, would have green in them. And think of color this way. As light decreases, the color intensity decreases. I mean, I just went in my closet the other day. I didn't want to wake my husband up. He can't stand it when I turn the, I'm an early bird. He didn't want me turning the light on. So I try to go in my closet in the dark. There's a little bit of light from a night light and pick out what I'm gonna wear. I had the most horrible outfit on because you can't see color. Okay, here's the final. It was a simple little six by six painting that packed a powerful dramatic punch with that sky. And once again, the majority of the pastels I used were the Sennelier Paris collection. I also too, if your colors or your pastels don't cover the color chart, I always make my own like this. It's a great way to refer back to a color you may be getting low on and you want to order another one. Also too, for my patrons, I will have your color guide. You can see all the colors that I used to create this painting. And as I mentioned before, if you become a patron of mine in the month of December and you're still a patron on January 1st, you will be entered into a chance to win this painting and also the painting from the last tutorial I uploaded. I thought they both just look so beautiful together. I sat them next to each other. I'm like, oh my gosh, I have to give these away together. So we'll have one winner for that and all my patrons are entered to win. So make sure you become a patron, be a patron on January 1st and you will not only get a chance to win both paintings but every single patron of mine will be getting a 2022 art calendar featuring my original artwork with some of my favorite Bible verses. Now this is a digital calendar. Okay, I want to make sure everybody knows that. I'm not mailing out a calendar of you know, 500, 600 people. So you do print it out. I've printed them out on some card stock from my printer and they look great and I have some creative ways I can share with you guys how to display it. I put a little clip at the top of mine and I'll put it on a little stand and I'm ready for 2022. So all right guys, God bless you all. Thank you so much. I hope you're enjoying these lessons and I have some beginner winter scenes on the way. Happy painting!


Hello everyone and welcome back to part 2 of my little pony STP Containment Breach.  So we are back and hopefully I get to escape or something or at least get closer to escaping. And here we are. Alright, make sure to smash the like button guys. Alright. Wait, I'm hearing like some noises. I have a kicker. Why did I just do that? Bruh. I just opened this. Okay, what SCP is this? I don't document SCP-895. Sorry, I was a person. Oh, great. Okay, so this is molestias. Secret stash. Oh wow. Okay. I don't know if I want to go see his stash down there, but let's go check it out. My god, it's so dark and scary. Well, hello there buddy. He's probably taking a nap, right? Dude, it's so dark. Hello, coffin. Rainbow Dash! Go, go, go, go, go! Oh my god!  No! Go! Go!   Oh my god! It's getting closer. Go bro! Crypt of gas mask. Oh, I know I got zapped. I should have seen that coming. Alright, we back.  She's moving. Pinkie Pie? You just mind your own business. Is that rainbow dash? That is rainbow dash. Dude, everywhere I go, these ponies are there. Okay, that's just a painting, right? I don't know if it is. Well, let's get out of here. Memory access. What? Return. Oh, it's there. Thank you. I love you. Thank you so much baby Jesus. We got our server back. It's because every time I loaded the game back up, the servers are gone. So I had to play over to where I was before. And dude, it's not a fun time. Alright, so luckily the server was there. We don't have to reset anything or anything like that. And maybe I should try avoiding that room because it did crash my game. It said something about memory loading. I don't know man. This thing is taking freaking long to load. Come on! Let's get it man. Alright, here we go. Okay, maybe I should turn back. Pony's everywhere.  Maybe I should turn back this way. Oh, great. Let's go back this way, let's go back this way. We almost died there again. Right off the rip. You're kidding me, right?  Okay, we gotta do this like without... Okay. Okay, that is not gonna work out. I'm stuck! Dude, I'm scared for my life. Is that a key card? That is a key card. Okay, I think she's just glitched on the wall. Left, right, left, right, let's go left. Oh wait, this is open already. So apparently none of these key cards we have work. We'll make a warhead. Dude, come on. Let me in! Okay, that's not gonna work out. Let's move out of here. I feel like we've been here too long. None of these key cards work! Then what's the whole point of collecting them? We're back with our SCP-96. Okay, maybe there's a key card in here or something. Or there's a door. Mobile Task Force unit. Alright, come on, come on, come on. Okay, where is the electricity? You're kidding me, right?  Bro, I'm stuck! Okay, now I'm not. Dude, is there a security out there running? I'm gonna get my way around this. Oh! Yo, they were shooting at me! Do you feel burning pain in your right leg? Dude, why were they shooting at me instead of the SCP? What is wrong with y'all, man? I'm so human. Okay, this door is locked. We're definitely locked out of there. Come on!  I'm not even gonna give them a heads-up warning.  Just, blah! There's a guard right there. He's right there. My boy! Hey, it was already open and open. Escape these guards! They're everywhere now. Oh my God, dude, this is giving me headache, man.  I'm tired of getting shot at. I'm the innocent one.  Even though they see me, the guards see me as a monster. Apparently, or something. I don't know, man. Alright, you guys. Well, if you guys want to part three, you know what to do. Let's make sure to get this video over a thousand likes. I would really appreciate it if we do. And thank you guys for watching. Thank y'all for the amazing support, as always. And I will see you all in the next one.


recorded books presents an unabridged recording of 27 bones by Jonathan Nassau narrated by Dion Graham this book is copyrighted 2004 by Jonathan Nassau this recording is copyrighted 2004 by recorded books the author opens with two quotations the first is from the poem the garden of proserpony by Algernon Swinburne from too much love of living from hope and fear set free we thank with brief Thanksgiving whatever gods may be that no man lives forever that dead men rise up never that even the weirdest river winds somewhere safe to see the second one comes from Alexander Popes Eloise and Abelard see my lips tremble and my eyeballs roll suck my last breath and catch my flying soul and now 27 bones prologue in 1985 in the village of Lola wasi on the island of Pulao Nias 75 kilometers off the western coast of Sumatra a chieftain lies dying or rather sits dying it is still the custom on Lola wasi for a chief to deliver his obligatory deathbed oration sitting up in his elaborately carved wooden marriage bed supported from behind if necessary by one or more of his wives with a skull or the right hand of one of his enemies nearby for him to take with him over the bridge to the next world sometimes a deathbed oration summing up the great man's life and rain as well as the history of the village goes on for days this one started several hours ago but although all around the chieftains house village life continues as usual women boil yams or work the fields men chop wood or feed and groom the pigs which are the primary source and display of wealth in the island economy in the Omo subua or great house neither of the dying chieftains two potential successors has yet stirred from his bedside there is a reason for this fidelity in Lola both succession and inheritance are still conferred the traditional way upon whichever of the heirs manages to be close enough to the chieftain at the ultimate moment to inhale his dying breath which is believed to contain his sofu and fire sample complete ready to continue


Ladies and gentlemen, welcome to the Late Night Talk with Mir Host Ahmad Ali and another night, another sorrowful night across the year as we commemorate the martyrdom of Prophet Muhammad, salallahu alayhi wa alayhi wa salam. Now, when every method of persuasion failed over the 13 years of preaching of Prophet Muhammad, salallahu alayhi wa salam, the Prophet resorted to the sword to remove any types of mischief, any types of evil and to remove the people from their ignorance of that time. A lot of people have this claim. However, there are many misconceptions on how the Prophet delivered Islam and the way he did da'wah to Islam and how he brought it upon the people. Tonight we have with us a very special guest, Sheikh Usama Al-Atar, joining us tonight to talk about the misconceptions revolving around the da'wah of Prophet Muhammad, Salallahu alayhi wa salam. Peace be upon you. Peace be upon you. May Allah SWT grant you the success of reaching Kabbalah every year. Every year we do have you whether in one occasion or a different occasion. Alhamdulillah, we have you for the martyrdom of Prophet Muhammad. Now, Sheikh, a lot of people have this idea in their mind that the Prophet didn't preach Islam in a peaceful way. He preached it in a different way. Before we get to that point, we need to follow what's so important about da'wah that the Prophet had to emphasize on that, spreading Islam in a peaceful way or in a peaceful way as we get to it. But the importance of da'wah, what's so important about it? Bismillah ar-Rahman ar-Raheem. Alhamdulillah ar-Rahman ar-Raheem. We believe that Islam is the universal message of happiness and joy in dunya and in akhira. Therefore, if someone really implements the message of Allah SWT, he will achieve the highest ranks of joy and happiness in dunya and in akhira. Now, if I may give an example, if there were a doctor who invents a new medication to treat a particular disease, for example, cancer, wouldn't this doctor then want to propagate this medication so that the whole world can benefit from it? All those who are suffering from illnesses can be cured from it? That would be the logical thing to do. In a similar fashion, in a similar manner, when there is a message that can spread peace, can spread love, can spread happiness and joy to the individual and the society at large and the whole world, then wouldn't one wants to share it with the whole world? And that is the essence of da'wah, inviting people to the message of Allah SWT. Now, one of the reasons that people do call us as Muslims when it comes to the Qur'an, we find Allah SWT mentioning in chapter 16 verse 125, invite to the way of your Lord, invite the people to the way of Allah SWT with wisdom and kind words and manners. Yet, we see other verses where a lot of people do criticize Islam on this, is that chase them down wherever you see them and under every rock. Now, why do we see contradictions or is this not a contradicting? We need to understand the context of these verses. Any text, religious text, when you take a look at it, you have to understand the underlying essence of the statements. Otherwise, it's open for misinterpretation. And this is open for all religious texts, especially divine religious texts. Now, in this context, Allah SWT orders the Holy Prophet SAW to invite people to the religious of Islam, and Allah SWT lays down the methodology. As you mentioned, Bismillah, Rahman, Raheem. So, there are three methodologies that the Qur'an suggests or the Qur'an indicates about inviting people to the path of Allah SWT. The first, Allah says invite people to the path of your Lord using al-hikmah, wisdom. Wisdom here, some of them say using a logical argument. This usually works when you're dealing with scholars, ulama. When you're dealing with the ulama, when the scholars, logical arguments work. Allah SWT uses several logical arguments in the Holy Qur'an. Allah says, who created the heavens and the earth? Ask them, who created all this? How could all this come from vanity? Indeed, in themselves and in the world of signs. Let them look at the skies. Do they see any discrepancies? And so on and so forth. Many of these verses which use logical context to indicate the presence of Allah SWT. Can there be two gods of the Qur'an? Then there will be corruption and problems. A logical argument as well. So that is one context, the logical context. Then, while Maw'idah al-Hassanah, virtuous admonishment, kind words, some of the Mufasirin, interestingly they say this is the language of the heart. This is kind of where you kind of talk to people using their emotions, stirring their emotions. So sometimes logical discussion or argument may not be very convincing to some people. But emotions can be. Sometimes, for example, you can tell an individual that even for Muslims, you need to pray. It's haram that you don't pray. He says, yeah, I know, but may Allah guide me. That's a logical argument.   This will help you. He doesn't believe you. He doesn't admire your logic, although it's logical. However, if this person, let's say, God forbid, loved one's guy, his mother passes away. And now he's in the state of grief as he's now maybe attending her funeral and they're trying to bury him. Now this person says, well, look at your mother now.  Wouldn't your mother would love to see you praying? Wouldn't you love to pray for her? Now you're using your emotions. And sometimes it works. So a person starts following the path of Allah because of his emotions. So that's the third methodology is jihad. Jihad is an argumentative approach. That approach is for those who really want to argue for the sake of arguing. Yes. Not for the sake of learning. The Qur'an gives an example. Bismillah ar-Rahman ar-Raheem. وضرب لنا مثلا ونسية خلقا قال من يحي العظم وهرمي قل يحيها الذي انشاءها أولا مرة وهو بكل خلقا عليه. That's an argumentative approach. Where this Obey Ibn Khalaf, who was one of the mushrikeen in Makkah, went and dug an old bone and brought it to Rasulullah, صلى الله عليه و آله. And he made it into a test and he blew it in the face of the Prophet, صلى الله عليه و آله. And then he said, يا محمد صلى الله عليه و آله. He said, Do you claim that your God can revive these old dusty bones?  He says, Tell him, Yes, the same way Allah created them in the first place from without anything. Allah can create them again without anything, you know, when they're also having nothing. So, but we don't have anything. That's an argumentative approach. These are the three modes. So we have Al-Hikmah, which is the logical argumentative approach. We have Al-Maw'a al-Hazana, which is the emotional approach. And we have the Jidal, which is the argumentative approach. Interestingly, just to highlight something really quickly. Yes. We find Ahlul Bayka, really focusing with Imam al-Husayn on the emotional side. The emotional side. Because they say, you know, cry for Imam al-Husayn. Hold the Majalis for Imam al-Husayn. Pretend to cry for Imam al-Husayn. Because the emotional aspect is the most powerful. Because they soften the hearts. When people start crying, their hearts become softer. And hence, they start to accept the admonishment. And hence, the transformation may be even stronger. Not that they did not use the logical arguments. Of course they did. But the emotional aspect is very powerful. So Ahlul Bayt, Alayhi Musalaam, emphasized this portion for that. Yes. Now, you mentioned that Ahlul Bayt emphasized that Imam al-Husayn used the emotional aspect of da'wah. No. Sorry. Not Imam al-Husayn. Ahlul Bayt, Alayhi Musalaam, used the emotional aspect of Imam al-Husayn's martyrdom to propagate the message of Imam al-Husayn, and to transform people and exchange them. Yes. Now, if they're using the martyrdom of Imam al-Husayn on Islam, Imam al-Husayn resorted to the sword, though. He fought to spread Islam. Whereas, we don't see anyone nowadays striving to establish an Islamic state other than the ones who are so-called Islamic state who actually want to establish a government. Now, we see that, you know, isn't something controversial right there? You know, we see that the ones who are actually wanting to serve Islam not establishing government, but at the ones who want to establish the government, are those who really care more about Islam? Well, let's take a look at the Prophet's approach. What approach did the Prophet use? First of all, he used these three methodologies. Yes. Then, he also used another approach. Yeah. Akhlaq, his manners. Azeem, yes. And if you were bad, tempered, ill-mannered, people would have ran away from you. Yeah. So, the Akhlaq of the Prophet was like a magnet that attracted people towards him. So, that was another approach. Yeah. The Prophet, sallallahu alayhi wa alayh, used the letters that he used to send to the emperors and the kings, the Persian king, the Roman Caesar. He wrote one to a king who used to be in Egypt and so on and so forth. So, he approached these letters as well. He sent them. This was in the days of Makkah, when he was in Makkah. Using this for 13 years as a strategy, then earned him some supporters. Yeah. Some historians say about, there were take 200 people believed in the Prophet, sallallahu alayhi wa alayh, over the course of the 13 years in Makkah. Yes. Then, he started sending ambassadors. So, he sent Ja'far Al-Tayyar, sallallahu alayhi alayh, to Ethiopia. He sent Mus'ab Ibn Umayr, sallallahu alayhi wa alayh, Rabbarullah Ta'ala alayh, to Medina. And they both did an excellent job, Najashi, the king of Ethiopia, became a Muslim and believed in the message of sallallahu alayhi wa alayh. Mus'ab Ibn Umayr did a phenomenal job in Medina where he worked with the people, the tribes of Al-Aus Al-Khazraj. He tried to unify them and he preached the Quran to them. And he was a young man. This is one of the actually examples we use of the youth and their important roles in the spreading of the message of Islam. In addition to Amir al-Mu'mineen, Ali ibn Abi Talib, sallallahu alayh, whom the Prophet sent him to Yemen. And again, he also propagated the message of Islam and so on and so forth. Yes. So you have these individuals. Then when the foundation was laid for the Prophet sallallahu alayhi wa alayh to migrate to Medina, there, the first time the Prophet sallallahu alayhi wa alayh used the sword, when the ayah was given to him in Surat Al-Hajj, Allah says beautifully, Othina li ladina yuqat taluna. Did not say yuqat iluna. Permission has been given to those. What's the difference? Permission has been given to those who have been fought against. Fought against. Not fighting. Othina li ladina yuqat taluna. Yuqat al. Mush. Yuqat iluna. So the line over the top? That's right. Othina permission has been given to those who have been fought against. In other words, those who have been attacked. Not those who are attacking. Not those who are fighting. So the Muslims were not the ones. Why make it so complicated? Anyone that wants to read the Quran is going to really follow that. This is the Arabic language, Quran and Arabic. The Quran is in the Arabic language. So people have to understand the Arabic language in order to really understand the essence of the Quran without it you can't. So here, the ayah is very clear that now this is the only ayah. The first ayah according to the historians and the interpreters of the Quran that this is the ayah that gave permission to the Muslims to engage in physical combat now. Before then, they did not have that permission. Now, they were fought against. They were oppressed. Othina li ladina yuqat taluna bi annahum zulimu. Zulimu. They've been oppressed. They've been fighting against. They've been attacked. Wa inna allaha ala nasrahim la qadir. And Allah is capable of making them victorious. And then, Allah says Those who have been kicked out of their house with no right other than them saying La ilaha illa Allah. They say they believe in Allah. And then Allah adds this to the ayah And if it weren't that Allah uses a group of people to defend the rights of others then we would find places of worship different places. Allah lists four places of worship. La huddim al-sawami'u. Sawami'u are the Jewish temples. Wa biya'un the Christian churches. La huddim al-sawami'u wa biya'un wa salawat. Salawat are general places of worship like temples, for example. Wa masajid and mosques where Allah is consistently remembered. So you see, when those people engage in combat they're not only defending Islam they are defending religion at large. Faith at large. They're defending the Jewish. They're defending the Christian. They're defending the non-believers. They're defending the Muslims. They're defending everybody. And just as a very simple example from today's world so that people can realize the context here. We find that those mu'minin who rose to defend against the Islamic states of today, those terrorist groups of today when they defended against them they did not just defend the followers of Ahlul Bayt, alayhi mus-salam or followers of the Muslim Islam only. They defended the Christians. They defended the Yazidis. They defended everybody. Shia, Sunni. Those people protected the churches that are there. They protected the mosques that are there. The places of worship of other faiths. They did not only defend. This is the essence of fighting because they were attacked. They were attacked by the terrorist group. These guys defended. Islam, same thing. The Prophet, sallallahu alayhi wa sallam, never raised his sword until he was attacked. And in fact, that's why we have a thought in some scholars' writings where they suggest that the Prophet, sallallahu alayhi wa alayhi and the concept of combat is only defensive in Islam. Only defensive. Is it true? Now, that's one thought among the Shia scholars. Some of the Shia thoughts. Now, if we take a look at the Prophet's combat, all of them were defensive. The Prophet never, sallallahu alayhi wa alayhi, initiated combat. Look at the first battle of Islam. What is the first battle in Islam? Badr. Badr. Where was it fought? Where is Badr? Badr is on the outskirts of Medina. Where did the Prophet stay in Medina? So he was attacked. The people of Mecca approached him and they were attacking him. Any country in the world, any sovereign country in the world when it's being attacked by an army doesn't it have the right to defend itself? The Prophet, sallallahu alayhi wa alayhi wa alayhi What's the second battle in Islam? Ahud. Where is Ahud? Near Medina. Near Medina, thank you. The battle of Al-Ahzab, Khandaq, in Medina. The Prophet was consistently being fought against, attacked by Allah's allies and therefore he has the right to defend himself. He has the right of every group. The other time the Prophet, sallallahu alayhi wa alayhi would engage in combat is when he engages in a peace treaty with a group of people and they violate the terms of the peace treaty just like the Kuffar of Mecca, the Quraish. For example, when they made the Surah of Hudaybiyah the peace treaty in Hudaybiyah in the year 6 after Hijrah and among the terms was they would not kill any Muslims. They would not attack and persecute any Muslims. However, a year later, Quraish violated the terms they arrested a group of Muslims who were peaceful they did not have any swords and they killed and executed all of them. As a consequence, the Prophet sallallahu alayhi wa alayhi said now Quraish has violated its terms of peace and therefore we need to defend ourselves. And he raised the army to go to Mecca. Now, when he arrived in Mecca in the year 8 after Hijrah the Prophet sallallahu alayhi used the slogan that today is the day of mercy. He said to the Meccans, lay down your weapon and we will forgive all of you. And indeed, that's exactly what he did. If the Prophet sallallahu alayhi wa alayhi were bloodthirsty, if he were a murderer as some people accuse him if he was seeking to spread his message through war why would he forgive the people who have been fighting against him for more than 20 years? And he let them all go. That famous statement of you are all forgiven. Which is also mentioned later on but we'll go into a short break and we'll be back very shortly. So, respective viewers do stay tuned for insha'Allah we'll go into a short break and we'll continue the misconceptions revolving around the preaching of Islam by Prophet Muhammad sallallahu alayhi wa alayhi wa sallam. Respected viewers, welcome back home. Insha'Allah enjoyed that short report but we are back with Dr. Sheikh Usama Al-Aqtar. Welcome back, Habibi. Thank you very much. Before the break, we were talking about Prophet Muhammad sallallahu alayhi wa alayhi wa sallam. In every fight or in every war he was involved in they were all in defense and the only way that, you know, if a treaty was broken or was violated the Prophet would fight. Now, in the Meccan, although there was no fight but the Prophet still went to them and tried to attack them. This is what they used. So, the intention of attacking was there. But the intention is not... They did violate. They did violate. Correct, yes. But the Prophet still went to them instead of being defensive. No, he was defensive. He never violated his terms of the treaty. They violated their terms of the treaty. In today's world... So, that would just break a war? Well, I mean, think about it. In today's world, if there is a treaty that's initiated between two groups and one group violates the terms of that treaty in such a disrespectful manner in such a violent manner then the other group has every right to defend itself against this violation. But what's... We see that in today's world and no one complains about this. Of course. So, same thing with the Prophet, when they arrested a group of Muslims and executed them this is an attack on Islam. It's an attack on the government and that government needs to protect its citizens to protect those who belong to it. And therefore, the Prophet, went and approached Mecca. However, look at his approach. A very peaceful approach.  And these were the same people who fought against him and tried to kill him and killed his uncle Al Hamza. And these people who have been fighting for more than 20 years against the Prophet. So, the concept of the sword being used to spread Islam is a fallacy. And if we look at some fair writers one of them like Jonas Pezzito. Professor Jonas Pezzito in some of his works has clearly indicated that the Muslims did not use the sword to spread their message. It was the manners of Rasulullah sallallahu alaihi waalaihi. It was the character of Rasulullah sallallahu alaihi waalaihi. It was the wisdom of Rasulullah sallallahu alaihi waalaihi that spread the message. And same thing if you take a look at Thomas Carlisle. Thomas Carlisle, a British writer who gave a series of lectures back in 1859 titled The Heroes. This series can be found online. And one of the series he names the hero is the Prophet Muhammad. Now he uses the Turkish spelling of the word. This is back in the 1800s during the Ottoman Empire. So the word and it's said Muhammad. They use Muhammad. But he says Muhammad the Prophet. And he considers him as a hero not because of his wars but because of the way that he managed to lead a nation of nomads, a group of people who are nomads and turn them into a civilization. So if we take a look at some historians, some writers, people who are fair in their assessment of history, none of them would accuse the Prophet sallallahu alaihi waalaihi of being bloodthirsty. Wara yadubillah. Wara yadubillah. Now Sheikh, a lot of people do claim and you just mentioned something that the Prophet did not spread Islam by the sword. Yet, we see the Prophet saying if it wasn't for the wealth of Khadija, the sword of Abu Talib and the faith of Abu Talib, there wouldn't be any Islam. Islam would not have spread. The sword being very important in that narration or that movement of the Holy Prophet. So we do find the sword or playing a very crucial role in that. So if it wasn't for the sword, Islam would have spread. Well, that's in a defensive role. Indeed, the sword of Ali ibn Abi Alayhi. But why not mention defensive though? Well, I mean if you take a look at the context though, like I said, you can take that hadith into perspective. When did Imam Ali fight with the Prophet sallallahu alaihi waalaihi? We just mentioned that the Prophet's wars were all defensive. Therefore, the sword of Imam Ali was in defense of Islam. Yes. Like I mentioned, if you take a look of all the wars of the Prophet sallallahu alaihi waalaihi, all were in defense. He was attacked, he defended. Or a violation was made of a treaty and again he defended. So the sword of Imam Ali was with him as he was defending.  Another thing though, people accuse Islam of. Yes. When they read some of the verses in the Qur'an and they claim that these verses propagate violence. Yeah, I was just about to mention that. When they say, for example, that find them and kill them wherever you find them. Yeah. Another ayah, it says, for example, people who fight against Allah and his messenger, they need to be sent in an exile and so on and so forth until it comes to the ayah where it says that they need to be cut with their right arm and their left leg or left arm and right leg. So we find like, my gosh, what kind of an execution is this? What is kind of, isn't this absolute. Savage? Savagery, capital punishment, et cetera, et cetera. So what is the response to this? In fact, one day I gave a lecture about this whole concept of violence in the Qur'an. Myth or reality. And the idea is when you take a look at these verses, they are talking specifically about combat. People who are constantly in combat against you, then you have the right to defend yourself.  So that is the concept. With regards to the ayah, where Allah SWT says, you know, cut them, et cetera, et cetera, the reason for the narration of this ayah was that a group of individuals came to the Prophet SAW and they said, you know, we would like to become Muslims. We said, welcome to Islam. So they became Muslim. They stayed in Madinah for a few days and they started coughing. They started getting ill.  Can we move somewhere else? So the Prophet SAW said, sure. He moved them to some, you know, rural area among a group of people who had some cattle, you know, camels, sheep, et cetera, et cetera. It was more like a natural scene, fresher air. These people stayed with those individuals. Those shepherds hosted them, took care of them, fed them, treated them like brothers. And then one day these guys who were being the guests, all of a sudden became greedy and they said, look at these guys. They have so many camels, so many sheep, so many sheep. So they one night executed the whole tribe and they stole everything.  I mean, in today's world, what would people do to something like this? To some group? Well, the law would take the required measures. But going back to the verses you mentioned, Sheikh Nasir, not too extreme though. When you're in combat, cut off your right and left leg. Look at the consequence, the sequence of the ayah. Those people may be exiled. They may be, for instance, they can be exiled, send them in exile, you inform in Al-Arab. Other disciplinary matters, the last of them is that capital. Why though? Why so extreme? Because Allah SWT in some cases puts a harsh punishment to deter people from committing the crime. That does not mean that this is what you need to do. And that's why the Prophet did not do it. So it's not the first resort? Absolutely. And the Prophet, did not do it. He did not execute them. He did not, for example, cut, et cetera, et cetera. Send them in exile. That's what the Prophet did, and therefore, it works when you send people into an exile to discipline them. Okay. That was a disciplinary measure that the Prophet SWT did. So sometimes the Qur'an may list a punishment that might be severe this to deter people from committing the crime. Yes. Now, a couple of days ago, I was reading an article online. It mentioned that when the Prophet captured the prisoners or captured the people after war, the warriors after war, after the war, he executed almost a thousand after better. And then when you go to read the Islamic point of view, he let them free. Yes, we don't have... No, who do you... Well, the Prophet never executed prisoners. He never executed prisoners. He always took care of them. In fact, in fact, in Islam, there were not even prisons at the time of the Prophet SWT. So prisoners were not even kept in prisons. So they were looked after. They were fed, taken care of by their hosts basically because there was no prison in Islam. And the Prophet, specifically in Badab, in fact, he turned to the prisoners and said, those of you who know how to read, if you can teach 10 people how to read and write, then it will set you free. So he used those prisoners in a positive way to educate the community, the Muslim community. And he would let them go free. So that's how the Prophet SWT dealt with prisoners. And we have more than one occasion when the people, for example, of Ta'i, a ta'i, you know, Hatim of Ta'i, the very famous his tribe, again, launched a war against the Prophet SWT. Oh, okay. The Prophet, SWT, sent an army to defend. Adi ibn Hatim of Ta'i, the son of Hatim of Ta'i ran away. However, Safana, the daughter of Hatim, the sister of Adi, so she was taken as a prisoner. You know, the Muslims won. They took her as a prisoner to Rasulullah SWT, where she met with the Prophet, SWT, and she said, Ya Rasulullah, my father used to honor the poor. He used to feed the hungry. He used to take care of the people. And the Prophet, SWT says, if your father were a Muslim, I would have said, may Allah's mercy be bestowed upon him. Indeed, your father was such a characteristic of a man. And he said, because of this, we will return everything back to you. All the goods that my Muslim fellow brothers have taken from you, they will send them back to you, and will set you all free to go back to your city or to your tribe. So she went back to her tribe, taking everything back with her. Yes. That's how he dealt with those people. And then Adi, her brother came and told her, how was it? What happened? Like how did that experience? You know, I managed to escape, but you guys were taken as prisoners. She told him, I thought that my father was the most generous person ever, I've ever seen until I met this man, Muhammad, SWT. His generosity, his kindness far exceeds anything that I've ever seen. And my suggestion is that you go and believe in him. And indeed, Adi went to the Prophet, SWT, and he believed in him. And he became a sincere Shia of Imam, SWT. And he lost two of his sons in the battle of Safin. He gets Muawiyah. Now, a lot of people also, they claim that if the message of Islam was so pure, then we see Islam deteriorating right now because Muslims are fighting their own Muslim fellow-mates. And that's one of the reasons that people hold back when it comes to converting to Islam and it comes to actually learning about Islam because they don't know what to learn. There's always so many views on just one aspect. You know, it's as simple as prayer. You pray to Allah SWT. There's like 50 ways that people can pray.  Well, you see, the dispute that is happening between some of the Muslims, this is not universal amongst all Muslims. There are about two billion Muslims in the world today. We are here now in a Muslim country. We don't find people killing each other red in the city. But there are people killing each other in the city. No, there aren't. There aren't. However, what happens we see the following. There's a small fraction of Muslims who have misunderstood the religion of Islam and they're causing corruption. If you really look at the numbers, they may be, I don't know, I don't really have statistics, but I mean 100,000 to 100,000 people. Out of two billion, that's the number that you have. But it is these people who make the news. When you go to any nation, to any country, it is the people who make the news that give a perspective of what that country is like. Whenever you have, for example, look at Canada and I know you're Canadian, you love Canada and a few years ago, a hockey team the Vancouver Canucks lost the Stanley Cup so they were riots. The other riots that happened. They started burning police cars or whatever. Well, that made international headlines. When people look at this and say, oh, Canadians, they burn police cars. Is that really what they people do? An improper perspective of who Canadians are. They're very peaceful people. Yeah. And then I'm proud of Canadian myself. Alhamdulillah. So it's what makes the news that sometimes gives a false perspective of who the true people in Canada are or the people of that religion and so on and so forth. What we see in the world today, this deviation that is happening, it's such a minute number of people, but it is them who's making the news and hence we think that, you know, this is really what is happening across all of the Muslims. Yeah. But it's not. Yeah. It's not across all Muslims. Many Muslims are living coexisting in peace, helping each other, protecting one another. And again, the example of this militia group, Iraq, who defended the religious sanctity of the country. They respected everybody, Shia, Sunni, Muslim, non-Muslim, et cetera. So that is a demonstration of the unity of the people of Islam. Hopefully, insha'Allah, we do thank you very much for joining us tonight and talking about the misconceptions, clearing them up. So people can understand what really Islam is all about and how do we actually portray Islam or preach Islam. Now, we do have a couple of seconds left a minute or less than a minute. Just three tips for the people who are trying to understand Islam the proper way, but maybe they don't have the platform or the means to. Just three tips, quick tips. Well, first of all, we need to understand the Qur'an. Don't look at one part of the Qur'an. We need to look at it as a whole. Very important. So that's one thing very important. Islam is the message of peace. Yes. But we need to understand the context of these verses. Second, our characteristic and behavior is extremely important. Yes. That's what people first of all look at. The minute they see the religion of Islam. And that's what the prophet Sallallahu Alaihi Wasallam used to do. Third, is we need to really develop a proper understanding of our theology. Aqa'id such that we can have a strong belief into this beautiful religion. And this way we can spread it and propagate it to the others as well. Thank you very much for joining us tonight. Once again, respect to viewers. Thank you very much for joining us tonight. Hopefully, we can learn from people like Sheikh Usama Al-Atar how to actually spread the message of Islam in the most proper way with wisdom, good manners and argue with those in the best of ways. Thank you very much for joining us tonight. Wassalamu Alaikum Wa Rahmatullahi Wa Barakatuh.


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Most membranes have roughly this thickness but not all. There is a bit of a tendency, so first this is hard to determine and we don't know this exactly. But if you look at different organisms, to first approximation they have roughly similar membrane thicknesses, again ballpark of 30 angstrom in the 25 maybe in the hydrophobic region. If we look inside a cell though there appears to be some slight differences where the endoplasmic reticulum in particular, the first membrane where we create proteins, the protein factory in their cells, appears to be slightly thinner and then there is some sort of tendency all the way out to the plasma membrane around our cells which is slightly thicker. I would take this with a grain of salt. There are other studies that somewhat contradict this but in theory at least if there is a systematic difference between the thickness of the membrane cells might be able to use that as a way to sort proteins so that thin proteins that are not alpha helices that are not so long for instance they would go into thin membranes while longer alpha helices would go in the thicker membranes.


This research paper examines the effect of temperature on the performance of Li-ion batteries. It found that the rate of Li-plus transport decreased significantly when the temperature was reduced below minus 20 degrees Celsius. This was due to the slower diffusion of Li-plus through the solid electrolyte interface, SEI, layer. The authors then proposed a solution to this problem by using fluorinated electrolytes with a lower limo energy level and polar groups. These fluorinated electrolytes formed an inorganic-rich SEI layer that had better tolerance to changes in temperature and improved Li-plus transport.


The BC Residential Tenancy Branch presents an information video on settlement discussions in hearings. Sometimes landlords and tenants experience conflict with each other for a variety of reasons. With the tenancy dispute there are three ways to resolve it. Since each step gets more time consuming and straining on the relationship we recommend you start with the first. The first and easiest step is to talk with each other about what is happening and see if you can identify solutions that would work for both of you. Sometimes the other person just doesn't realize what is going on or doesn't understand it from your perspective. If this doesn't work the second step is to send them a letter asking them to address whatever issue is causing the dispute. You can do this step on your own or with the help of a friend or relative. The third step is to file an application for dispute resolution and or serve a notice to end tenancy with the Residential Tenancy Branch. This may result in a hearing with one of the arbitrators at the Residential Tenancy Branch. Another video in this series explains the arbitration process. Watch it at www.gov.bc.ca slash landlord tenant slash videos. In a hearing the arbitrators are permitted by law to assist parties to settle a claim rather than arbitrate it. But what is the difference? If a hearing is arbitrated the third party, in this case the arbitrator, makes a decision for the two parties. If the hearing moves to a settlement discussion the arbitrator will help the two parties decide on an agreement together which is the settlement. Settlement discussions can happen two ways. Sometimes you might have already been talking to the other party and have some idea of how you can resolve the dispute so you can request it at the hearing. Other times the arbitrator might notice that there is room for settlement because of the type of dispute or your relationship with each other and suggest that you may still be able to reach a settlement of your dispute. It is important to remember that if you're called to a hearing you must participate in the arbitration process. However the settlement process is voluntary. You can decide at the beginning or at any time during the settlement discussion that you would rather have the dispute arbitrated. How does it work? With the help of the arbitrator you will both discuss your perspective on the dispute, try to identify different ways that the problem can be resolved, and come to an agreement on what you will both do to solve the problem. You may have someone else represent you at the hearing like an assistant advocate lawyer or translator. You might want to tell them what you would be willing to settle for if a settlement is negotiated. What if you can't agree? If you and the other party can't come to an agreement the arbitrator will conclude the settlement discussion and proceed to make a final binding decision based on the whole hearing. Does it take more time? All hearings are given the same amount of time so it won't take longer than if the dispute was arbitrated. Just like with an arbitration there is no one approach to a settlement discussion so don't worry if the hearing does not go exactly the same way as we've described here. For more information please visit our website at www.gov.bc.ca slash landlord tenant