We are going to continue talking about ways to draw organic molecules We're going to talk about how to draw resin structure resin structures Lewis structures today And then at the end of class we're going to do an active learning activity I have to get a certain amount done in three lectures for the filming and after we're done with that Then we're good to go to do whatever we want. Okay. All right, so we talked last time about drawing 3d structures and So 3d structures not worrying too much about these until we get to chapter 5 And then when we get to chapter 5 we'll be drawing these all the time, but when you draw a 3d structure Correct bond angles are included or I should say correct bond angles are required Okay, so we're trying to convey how something is looks in three-dimensional space We said with a Lewis structure you don't have to show correct bond angles But with a 3d structure will sometimes see it drawn 3d dash wedge is is one way to do it So for example, this bond angle should look to be about 120 How do we know that bond angle is 120 degrees well, we're going to talk about that coming up. Okay, if you don't remember that from jikim And then we have this here That should look to be a little smaller than 120 a 109.5 Well, how do we know that's 109.5 again? We're going to talk about that coming up All right, so that's what we have when we have a 3d structure and then Another way to draw structures that I'm sure that you haven't seen a skeletal or bond line structures This is going to save us a lot of time When we're drawing and if you look at the structures that we have on the very first page of the notes There's a lot of skeletal structures in those and if you had to draw them with every single ad and it would take you a long time to do that Okay, so that's the whole idea. So it's a simplified way of drawing Especially drawings that contain rings. It's very very helpful when it's above a structure that contains rings So the guidelines assuming assume that there is a carbon at the junction of any two lines are at the end of any line So for example if I have this that means that at this juncture right here Right there. That means there's a carbon at the juncture of any line is a carbon Assume there are enough hydrogens around each carbon to make it tetravalent. So Carbon would that means carbon would have four bonds. So the the three hydrogens. These are three hydrogens here Okay, so this is a carbon. This is a carbon with three hydrogens This is a carbon with three hydrogens the carbon in the center needs two more hydrogens to be to have four bonds Tetravalent another way of saying it has four bonds. So that's what that would be So this structure here is equivalent to that it saved us a lot of time in drawing. Okay, so we do use skeletal structures There are some students who just don't ever feel comfortable with skeletal structures And if they see a skeletal structure on a test, they write it out with all of the atoms there and there's nothing wrong with that That's perfectly fine. Okay So you have to so carbons are understood hetero atoms hetero atoms are things other than carbon like The most famous ones for us are oxygen nitrogen and the halogens. You do have to draw those Carbon atoms in a straight chain are drawn as a zigzag Lone pairs are often left out and are understood. Okay may not be understood by everybody, but they are understood You always have to include formal charges Okay, you have to include formal charges because if one of these two carbons on the end here had a formal charge I wouldn't it wouldn't be having that many hydrogens So we it needs to be clear to anybody in the whole world what you're trying to convey And so we always need formal charges in all of the different ways that we have to draw structures Okay, again, lone pairs don't have to have so the skeletal structure of the sample compound that we've already talked about Would we look like this? Okay, so let's label what that means Okay, so this one right here. That's a that's a CH3. That's an end of a line Therefore, it's a CH3 There is a hydrogen bonded to this carbon. We want to make that carbon tetravalent. It's not charged So it needs to be tetravalent. Okay, so the hydrogen bonded to this carbon is Not required you can draw it if you want so we can we can actually use a combination of condensed and Skeletal You can draw it if you want And I think that looks a little weird without that hydrogen drawn in so I don't think I ever draw it that way I think that that hydrogen I draw it in okay This oxygen right here has a positive charge. This is required Okay, and this hydrogen right here is also required It's required It's only not required when you have it bonded to a carbon but if you have a hydrogen bonded to a heteroatom you have to draw the hydrogen in this hydrogen is required because It is bonded to something other than carbon Questions so far on skeletal structures anybody All right, so let's redraw the following compensating all atoms lone pairs and formal charges Okay, so I'm looking at this carbon right here that carbon right here is bonded to three things It's at the juncture of two lines That means that there's a hydrogen there. So let's draw all of the atoms in Loan pairs are not required. You can draw them in though. I'm going to draw them in just for the heck of it Okay, so it's going to look like that. That's what that means and Rings especially we're going to draw this. So this is a this is a six-membered ring with carbons all in the ring Let's draw that It just takes a lot longer to draw. I'm so glad we have the shorthand way of doing it Okay, so this carbon has two hydrogens to make it tetravalent This carbon has two hydrogens to make it tetravalent This carbon has two hydrogens this carbon has two hydrogen That carbon's got a negative charge. So what do we put on that carbon? How many hydrogens? One hydrogen and a lone pair Now the lone pair is not required. I Like to put it there myself. I usually do put that there. Okay, so I'm going to go like this Yeah, but the back. Oh, yeah Go ahead This one here. Yeah, I heard yeah, you I usually know when I made a mistake because I'll hear a little And I should just ask you I gotta learn to just ask you Yeah, I'm missing a carbon. See I would have missed that one on the test Okay Yeah Everything else good everything else looks good to me So you see you have to know carbon with a negative charge has three bonds and a lone pair So it may be worth your while to like just memorize those those those common charges that we're going to see over and over again Okay, so let's see Keeping yeah Yeah, generally not drawn that way but right now you haven't heard that rule so it's okay go at it, you know Sapling will not let you do that. So it's probably a good idea not to sapling will mark it wrong Okay, there's also something else about sapling sapling will sometimes I think I've taken them all out Sapson sapling will sometimes draw them like this Turn that on That's not legal That's not legal Okay, you can't draw it that way You know like I could put a CH3 here, but these carbons here are not okay. You don't want to draw it that way That's not really skeletal if you're putting a carbon at the end of every line Okay, so I believe I've taken them all out if if I did leave one in where they draw it that way please let me know so I can remove it from the Worksheet, okay It is common to use more than one type of structure So again, if you turn to that very first page of the notes they use a combination of skeletal condensed You know it's We're not super strict about this So for example All right, so I didn't want to draw out that oxygen carbon bond And I didn't want to draw the three bonds to hydrogen for that. That's okay This is condensed and and CH3's are those are called methyl groups We're going to talk about that nomenclature coming up later in the quarter But it's super common just to write them a CH3 without drawing them all completely out And and maybe you don't like the way this looks with this sometimes I feel that way I don't like the way this looks with this bond here.  So it will flip it around automatically That's legal though. And so is that legal to write it like that But it is not legal to do that with say an OH so OH here This should be OH not not OH Okay, so carbon gets things that oxygens and nitrogens don't you don't want to draw it that way, okay? So this is a problem So you may just want to flip these things around anyway Okay, so we have some flexibility here how you want to draw things and again if you want to draw every single bond There is absolutely nothing wrong with that Questions on skeletal structures Let's talk about how to draw Lewis structures It's a mixed bag in here. Some of you are really good at Lewis structures Some of you are not and some of it depends on your Preparation for this class so for example if you had AP chemistry in high school and you skipped over chem 1a That's where we learned to draw Lewis structures. So you've looked you've missed out on that information on that And so and also it might have been a couple years since you've had AP chemistry So we start from ground zero here and and talk about how to do this Couple things are different than in some ways. It's easier than G cams G cam you have the whole periodic table here We just have a really small amount of the periodic table and so But one thing that's really different is in G cam you always had a central atom when you were drawing Lewis structures We don't necessarily have a central atom So for example, where's the central atom here? There is no central atom. Okay, so that's something that's completely different All right, let's talk about the traditional method and then we're gonna have shortcuts that we can do and as you go along You'll be adopting more of the shortcuts Arrange atoms in the proper orientation. We have condensed structures. So that's easier for you to do than maybe in G cam Some of the valence electrons for all atoms Sometimes we don't even have to do that But if you have a charged molecule, I highly recommend that you add up the electrons. Okay, so you make sure you're drawing it correctly Distribute electrons by placing bonds between atoms one bond is to electrons use remaining electrons to satisfy the duet rule You're gonna distribute the extra electrons. We'll look at some examples. That's the best way to see how to do this If all of the valence electrons are used and an atom doesn't have an octet then then You're gonna form multiple bonds where possible. Okay, so that's what we're gonna be looking at here The other way to do this is to use the honk one two three four rule for neutral compounds Again, if you don't if you have something that's not a neutral compound. It's charged I will I really highly recommend you take the extra step to count electrons So here we go here. Let's start the loose structure for CH3 cl. Okay, I'm going to add up electrons first Carbon has four electrons Hydrogens has there's how many hydrogens we have three hydrogens so three times one electron so that's three electrons and Chlorine has seven if we add that all up we get 14 electrons total So by the way that number when you add up all the electrons should be even If it's not even that means that you have an unpaired electron. That is called a radical I will not be giving you anything that has a radical So if that number is not even you've made a mistake go back and see where you made the mistake, okay? Now Honk one two three four rule carbon needs four bonds, so let's draw carbon with four bonds Hydrogen has one bond so we can put a hydrogen and it doesn't matter where on this for you put the hydrogen You can go here. You can go here and then we have a chlorine left over and Now let's add up the electrons. We have two for each bond to four six eight ten twelve fourteen Okay, that works out really well That was just using the honk rule But also the condensed structure does tell us that we have a ch3 and then that's bonded to a cl So I mean we really didn't need you know, we could use any of those That's an easy one to draw. Okay, and then we just give Clark chlorine its lone pairs and because it's neutral we We know we're not going to have any Formal charges on any atoms, okay? So hopefully they'll all be that easy on the test, huh? That is multiple ways to do it All right. Oh, I do want to you. I know you've already turned the page. Sorry about that. I do want to say a couple things here Don't forget to bra draw long non-bonding electrons or lone pairs Also known as lone pairs if it's a Lewis structure. I want to see all of them and Don't use lines for lone pairs in Okam I know you like that little shortcut, but we don't use it in Okam so what I mean is and Let's change the color here. So it shows up a little better We don't want to do this Okay, and so the reason why we're I'm just showing you a bunch of shortcuts So we don't take away your lines because we we want to make you take longer to draw We take away the lines because they can be very confusing Okay, like so for example like if you have a carbon with the line Is that a carbon or is it a chlorine and Since we have formal charges if you have a line there What if that's what if you have a negatively charged chlorine? Is it is it is the line for the lone pair or as did you leave off the negative charge? And the other thing is we use curvy arrows when we're drawing when we're reacting Molecules with each other and if you use a curvy arrow, you know, you haven't if let's say you had an arrow coming in somewhere here, okay now That seems super clear there, but you haven't graded 400 exams to see that it could be very confusing and unclear So no lines for lone pairs here. Okay, so we just take a little extra time to draw the long Okay, I already did the shortcut follow the honk one two three four rule Okay, but let's just do it here anyway carbon four bonds hydrogen and chlorine One bond each and so carbon has four bonds, so it's got to have four bonds here Four bonds three of them to our hydrogen one of them to chlorine. All right, let's do the structure for ethylene So when we get into 51b, you'll be able to draw ethylene just by being given the name right now You're not going to be able to do that So let's go ahead and add up electrons for ethylene. We have two carbons so two times four Equals eight electrons We have four hydrogens four times one equals four electrons We have 12 all together and So it says there's a CH2 followed by CH2. So let's draw the CH2 CH2 again, these bond angles don't make any difference here. It's a Lewis structure now let's Distribute electrons. We've already distributed some of them. We have two for every bond two four six eight ten One more pair of electrons. Okay, let's put that here. We can put that on either carbon Okay, so we see that this one does not have an octet If we have a lone pair next door and we have don't have an octet that means we can draw a bond there So we can just take these electrons and move them. I'm going to move them So they're between the two carbons, so I'm going to turn that lone pair into a covalent bond and Then I'm going to draw it like this And again these hydrogens that are on the top if you do them going down doesn't matter. Okay, it's the same compound questions on that one anybody Okay, CH3 CHOH plus Okay, let's do that we have two carbons that's two times four electrons I'm going to go across this way have a little bit more room that way. We have five hydrogens That would be five times one We have one oxygen That's six electrons We have a positive charge Okay, so technically this this should be drawn like this with that positive charge outside the bracket because that positive charge is not Going to be on hydrogen, so that should be drawn outside the brackets Okay, plus a Charge if it's a positive charge we remove an electron if it's a negative charge we add an electron It's an easy thing to forget I'm going to remove an electron because it's a positive charge minus one electron and then that it ends up to 18 electrons Easy to forget to do that if I forgot to do that Then I would have 19 electrons and I would say to myself wait This is supposed to be even if it's not even I've made a mistake and then you look and it's 18 electrons Okay, so let's distribute the 18 electrons here But first of all, let's take that condensed structure and convert it into to show how that the bonding is or it has in this molecule So we have CH3 We have carbon bonded hydrogen And then we have an oxygen bonded to hydrogen So it looks like that should look like that. All right, we have 18 electrons to distribute Let's distribute those 18 electrons We've got how many so far two four six eight ten twelve fourteen I'm going to distribute the electrons to the more electronegative atom first Okay, so since I don't really have a central atom here. I'm going to give them to oxygen here Two four six eight ten twelve fourteen sixteen eighteen. Okay, so if I draw it like that then Looks like oxygen is not charged carbon is not charged, but this is charged. What's the charge on that? Positive charge so you can see that by looking at it you could use the formula you could memorize it or The way I do it is I what I say is okay This carbon here owns one electron from each of these bonds for the purposes of formal charge only One electron from each bond so carbon owns one two three. It should be four So it's down one electron Okay now you can draw it that way or You know you see something without an octet. So what did we do over here? We should put a positive charge here What did we hit when we have a lone pair right next to a positive charge? That means that we can move those electrons here and we can make up a bond there Okay, so we actually have two different ways to draw this structure. So if you drew either of these They would both be correct. There are two resonance structures When we have multiple ways that we can draw something those are resonance structures So now the oxygen had blue two lone pairs one of those lone pairs We moved over and notice I put the arrow the curvy arrow to move those two electrons halfway in between the carbon and the oxygen We've taken that lone pair and we've turned it into a covalent bond now this carbon is no longer charged But this oxygen is charged So let's let's do it that way. So oxygen owns All the lone pairs and one electron from each bond one two three four five Five electrons. It should be six right Oxygen group six should be six. So that means that we have a positive charge there Okay, again feel free to use the formula, but don't I will see exams where Students use the formula for every single atom including the hydrogens including things that have a zero Formal charge and those are students that don't finish the exam And so I want you to make sure that you are only calculating that for things that need it So don't forget formal charges and also make a little check for yourself each structure should have the same net charge All right, so a structure number one We know the overall structure has to have a positive charge Structure number one has a positive charge structure number two has a positive charge Okay, so I in order to go from structure one to structure two. I used a curvy arrow Curvy arrows show movement of a pair of electrons the and it's really important. You have the board have the right direction Okay, so the tail shows where the electrons are coming from let's draw it this way Begins at the current position of the electrons The curvy arrows and the head shows the new position of the electrons. So this arrow came from this lone pair here It's gonna the arrows are gonna come from either a lone pair or a bond This comes here from this lone pair. That's where they are currently located This shows where we're moving them between those two that carbon and that oxygen Right questions Any questions Important points about this example Yeah It does matter in this case we're moving two electrons So we have a full head on the arrow if we're moving a single electron. We use a half ahead on the arrow. Okay, so fish hook All right more questions All right, so we can represent this above molecule by more than one Lewis structure So if I gave you this molecule and asked you to draw the Lewis structure on the test You would get credit for either one of those structures. It would both be correct Resident structures differ only in the arrangement of electrons not in connectivity So when we draw resident structures, we don't want to be moving around atoms atoms stay exactly where they are We only move electrons Okay, and we use a resonance arrow. This is a resonance arrow Generally speaking when we have a series of resonance structures, we use a resonance arrow and we use brackets We also use brackets to indicate resonance structures The actual structure of the molecule is a resonance hybrid of these two structures. They are not in equilibrium So I'm going to write that in red. They are not in equilibrium All caps for that Because there's a tendency even when you know this and you learn this to still think of them going back and forth They are not in equilibrium. So let's review our arrows. We have a resonance arrow here Equilibrium arrow we have an arrow going one direction. We have an arrow going the other or we have it like this You'll see both of those. Those are equilibrium arrows not to be confused with a resonance arrow We have a reaction arrow, you know a plus b goes to C. That's straight And then we have curvy arrows So this answers your question over here That's a curvy arrow showing the movement of a pair of electrons and then we have a fish hook arrow Showing the movement of a single electron. So those are all the arrows. So that's not an equilibrium arrow We're going to need an analogy for this because it's hard not to think of those things Going back and forth So this is a plum. This is an apricot This is a pluot Okay, so you cross a plum and an apricot you get a pluot. So the pluot is the analogy for the hybrid When you have a pluot sitting in your hand It is not changing back and forth from a plum to an apricot to a plum to an apricot from a plum to an apricot It's a pluot. Okay, so that's the true structure So our hybrid is the pluot.  So number four should be correct on your page So I want you to be able to draw hybrid structures.  I leave off lone pairs and completely ignore them It's too confusing. So forget about the lone pairs Draw the bonds any bonds that are changing are dotted Partial charges for charges that are changing locations. So in that last structure, we had a positive charge on carbon in one of the structures We had a negative charge We had a zero neutral charge on carbon and then in the other structure We had a positive charge on oxygen in the other structure. We had a zero formal charge. So that means those would be partial charges and To make this easier. I don't know how it did that with to make this easier But let's draw them. Let's draw a hybrid structure for that compound. We just drew I'm drawing in the lines that are not changing single bonds between each of the atoms And I'm going to scroll back up to see which one I drew first You don't have to turn the page it's all the way up here All right, so when there's so notice in the first structure here I have a single bond between the carbon and the oxygen here. I have a double bond So that's the the pi bond is going to be dotted I'm leaving off the lone pairs because it gets too confusing in this structure right here a positive charge on carbon in this Structure, it's zero. So it'll be a partial positive in this structure I have a zero charge on oxygen in this structure. I have a positive charge so that will be a positive Okay, so let's go back and do that All right, so dotted line here positive partial positive here because We're changing charge on that atom Oxygen here also has a partial positive charge And so what we see is that the positive charge is shared between two atoms. It's not just on one of them It's shared Okay, so the positive charge is shared between The carbon and the oxygen So we have delocalized electrons. That's going to be a big deal here in this class delocalized electrons Okay, and the reason these are positive is that we have For this carbon right here. It has a positive charge in the first structure and zero charge in the second and The same thing goes for the Same thing goes for the other. Okay, so that's how that's what I would want if I have you draw a hybrid Questions on drawing hybrids anybody If you wanted to In one resident structure the oxygen has two lone pairs in the other resident structure It only has one. So I would just draw one lone pair here But again, I really think it's easier if you don't do that. Okay More questions on hybrids More important important points about resident structures resident structures are not real Okay Any individual resident structure does not accurately represent the structure of the molecule only the hybrid does so the hybrids real The resident structures are not real that being said we're going to be drawing resident structures all year long So they're real enough for that we need to draw them They're not in equilibrium. We already said that they're not isomers Two isomers different the arrangement of both atoms and electrons Whereas resident structures differ only in the arrangement of electrons. Okay, so for example if we go from here to here if we take the Electrons in one of those pi bonds and we move it on to oxygen we get this structure So the electron pair Moves to a different location. I have not moved any atoms. I'm just moving electrons That means that to a different location. That means they are resident structures Over here, you can see that. Okay. We're moving electrons and we're moving an atom So this hydrogen here is bonded to oxygen and now it's bonded to here So so the atom is moving to a different location It's a hydrogen moves to a new location. So we say The term we'd use for that is they have different connectivity the atoms are connected differently So these are actually constitutional isomers. So so I rarely use the word just isomers Okay, they're because we want to be more specific. These would be constitutional isomers so so same Molecular formula different connectivity Okay, so more things I want to say about these resident structures They're not equivalent in energy So when we draw a hybrid we kind of draw it as if that hybrid we've already drawn It's kind of like you have 50% of this one and 50% of that one. It's not really true in reality So one of the things we want to be able to do is rank resident structures So we can see which one's more important which one's less important. Okay so What makes a good resident structure? Well the best resident structures are the most stable So let's look at what we're going to be looking for Rule number one. These are by the way. These are in order of importance In order of importance. I wrote that in the different colors. So that would stand out The most important thing is rule number one resident structures with more bonds and fewer charges are more stable Resident structures in which every atom has an octet are more stable Resident structures that place a negative charge on more like your negative atom are more stable Okay, so rule number one and rule number two go together and they are the most important So for example coming straight out of G chem if I asked you which one of these resident structures was most important 99% of you would say That one's more important because oxygen's more electronegative Then carbon and so it's much less happy with a positive charge. It's what most of you would say However This carbon does not have an octet. This carbon also has this also has one less covalent bond here Okay, there's one less covalent bond here. So it's not it's not the best one Okay, so we would call this one minor We would call this one major So the charge is the last thing you look at the first thing you look at is have we maximize the number of covalent bonds? Do all atoms have an octet? So this is a minor. We call this a minor resonance Contributor and this is a major resonance contributor Okay, so if we count all the covalent bonds we have fewer we have Fewer covalent bonds by one We only have seven over here. We have eight more covalent bonds. That's better more important Here we have eight Carbon has no octet Over here all atoms have an octet and this this first resonance the second resonance structure does have in all honesty It's got one knock against it. So here positive charge On more electronegative atom So that's bad, but it's not bad enough to make this one It's not bad enough to make this one the worst resonance structure One with a carbocation is the worst resonance structure Alright, so we want to look for the these following features in order of importance. There's a couple additional points. I want to make It is okay to have carbon with less than an octet in a resonance structure Carbon gets a free ride here Carbon can have would be without an octet in a resonance structure We even have a name for it carbocation, but it is never but never draw oxygen nitrogens or the halogens without an octet Now there are a couple of questions in Smith where they do just that not okay I don't you will never you will never draw it in any of my exams for the whole year Okay Don't draw resonance structures with the two plus or a two minus charge. Oh There's a couple of times when they do them Are you see things like ozone? We have three oxygens in a row. I Will never have you draw two plus or two minus charge on anything ever Okay, extremely miners should never be included never ever exceed an octet for second row elements No Texas carbon no pentavalent carbon. Okay So they have four bonds Okay, there is an additional Under the practice link we have lots of extra things we throw in there And there's a little handout about drawing resonance structures I think it would be worth your while to take a look at that This is one of the most important things we learn that we will need a good grounding in all year I do want to come back. We're not going to be able to finish it, but I do want to come back and We have an in-class activity I didn't get enough done so we can't probably won't finish it We will finish it at the beginning of class the last time next time Okay, so what do I want here? Tell me what you want to do. I want to open up this Come on or maybe we won't Word is not responding Okay, hang on. We're going to get started here We've got a minute and a half We're going to take advantage of that minute and a half All right So when you can work on this at home, and we're going to come back and talk about it on Friday So when when we did this we said if you have oh, sorry So here's what we're looking at Condensed structure CH3 CO2H. We said it looks like this not this not this And so what we're going to do and we will work in groups when we come back It's too late to do it right now, but we'll work we were we will work in groups And I want you to draw a Lou structure for this for this and for this and so in other words add up all the electrons Distribute them do exactly what we did in class today And what you're going to find out is there's a problem with this one and a problem with this one We'll talk more about that on Friday


It's your boy Lloyd here and we have a question.  My question to you is, I have a really awesome lifestyle. And I know you say on your channel that girls are really into a guy with a great lifestyle. So I'm wondering how can I display, how can I show the girl that I have a great lifestyle without coming off as try hard or that I'm arrogant. Thank you so much. Look forward to hearing your answer. Okay, so this guy has a really great lifestyle and he wants to be able to show people. Now I paraphrase his questions a lot longer than that, but basically that's what he's curious about. And yeah dude, having a great lifestyle is super important. In fact, the crass term is that a lot of people say that men are into a woman for a body and women are into men for a lifestyle. Now obviously that's a very crass way of putting it, but it's not rooted in fiction. Okay, so how do you display the fact that you have a great lifestyle to this person? Now the two ways you can do it, you can either do things that are going to make her want to find out for herself. So she finds out that you have a great lifestyle and kind of who you are on her own. And then the other way is you kind of show her or tell her. So obviously one is a lot better than the other. So I'm going to tell kind of how to do both of those things in this video. But before I do you guys, if you're wondering about the product I'm going to be releasing in a couple months, if you want to get notified about it, there is a link in the description box below. So click on that link, put in your email and you'll get notified. Cool. And yeah, I'm super excited about this product. Hopefully we'll be able to get it out in a couple months with the pandemic that's happening. So yeah, that'll be great. Okay, so let's talk about how to get this girl kind of curious about what you're doing. So obviously with the two ways, it's a lot better if she finds out by herself rather than you telling or showing her. So I'm going to talk, a lot of what I'm geared towards is more towards that. But if you are going to tell her outright, or show her, there are ways to do it. So I'm a guy who has a lot of kind of stuff going on. Like my lifestyle is pretty cool too. The way that I tackle this issue with women, or it's not really an issue. It's definitely an advantage, but using it in the right way is the way you want to do it. You don't have to do a whole lot. You really don't. Women, if they like a guy, they will find out information about him. They will go on social media. They will stalk you. In fact, I don't know who stalks more men or women, but I know women are sneakier about it. So if you have a great social media profile, that helps. If you have a great social circle, that helps too. In fact, a lot of times, like even before I said I was doing this, I only told a few people about what my business and everything was going to be before I started it. But now people, most people have found out. They've found out because people talk. You don't need to do a whole lot, especially in these groups. So what you should do is if you're talking to a girl or if you're saying hi to her. So if it's on your social media profile, you probably don't even have to say anything. A lot of times guys think they have to compensate by letting them know how awesome their job is.  And then they'll have to tell how much all the business meetings that they go to, the companies they work for, they feel like they have to compensate for the fact that they just told this person that they're a software engineer.  They really don't care. It's more about the life that you can bring them that they're curious about. And if you're constantly bragging and you're trying to justify to them how dope your life is, what you're really communicating to her is I feel insecure about my lifestyle, so I'm trying to prove it to you. That comes off as bragging and people do not like people who brag. So what I would do instead is if I'm talking to a girl rather than me tell them, hey, my name is Lloyd. I have a big YouTube channel. I have 60,000 subscribers. Or actually, what's more than that now, I don't know how much it is now, but I travel around the world. I teach guys how to be the best versions of themselves. I don't even mention my job unless they bring it up. I really don't. What I'll do is they'll be like, hey, so what are you doing in the area? I'll say something like, yeah, I was just here organizing a conference. What about you? What are you up to? Just by me saying that, organizing a conference, that shows that I have something that's my own. I'm creating things. That shows that I have something going on where people are attending to see me. It's a lot of intriguing things there. And just that line alone, a lot of times people will follow up with questions and they want to ask all about it. And at first I was tempted to describe the whole thing to them, but a lot of times I still kind of keep it vague. I let them dig deeper or maybe they can ask one of my friends about it. And I'm not rude. I'll talk about that later. I'll just maybe give them a few more things or something. Yeah, I've organized a conference that I'm helping guys out with this. But tell me about you. What do you do? So at first I'm very interested in them. I make them like me as a person first. And then you can throw little kind of details in there. And you shouldn't have to try for these details. You shouldn't have to be like, oh, now it's time to insert demonstration of higher value. That's how a creepy pickup guy thinks about it. But you should just describe kind of what you're doing. And if it sounds like you're bragging, a lot of times you are. So just mentioning one little thing about it and then leaving a lot of up to the imagination is a lot of times better. If she finds out about like, oh, I'm hosting a conference and then she goes to my social media, kind of sees the friends that I have, the places that I've traveled to. Now she's even more intrigued. Now she wants to know more. And on social media too, a lot of times it's tempting for guys to really go out there and brag a lot. So if they bought a new car or if they have a job or they travel to a business location, it's tempting for them to tell about like what kind of car it is. You want to leave things up to the imagination too. For instance, if you went to like an exciting vacation or something like that, you know, rather than you saying, oh, we had a great time in Mecanos with my awesome friends. This trip was really cool. We ate at this fancy restaurant. We talked to these people. We went to this awesome club. Just put like a picture and then, you know, a brief description. Like if it was like a nice club that you went to in Vegas or something like that, you could write like Not Bad for a Tuesday. And that's it. You know, you don't really need to say a whole lot because people are intrigued. They're like, what is he doing? He's in Vegas on a Tuesday? What's he got? Is he on a business trip? What does he do? Like it leaves a lot up to the imagination. Okay, so I think a lot of these types of things where it gets people intrigued and interested is the way to go about doing it. So that's how you talk about it. And that's how you kind of display it with your social media profiles and everything. And it just takes a little bit you guys before her. She starts asking her friends or asking your social circle. Like typically, if someone was talking to me in my hometown and I maybe said one little thing about like, yeah, I did a, I had a mastermind the other day. And she doesn't even know what a mastermind is, right? Maybe she'll ask one of my friends what I do. Then he'll tell, if she hears it from a friend, if she hears it from somebody else, dude, it's so much more powerful than coming out of your mouth.  So let her figure it out for yourself.  Do you really think Brad Pitt is going to waste his time name-dropping and bragging to you? Oh, I was hanging out with Angelina Jolie the other day and Martin Scorsese and he wants me to be the lead in his new movie.  He needs Brad Pitt. He doesn't need to brag about any of that stuff. Even if it's a person who doesn't know who he is, do you think he's really going to take the time to do all that stuff? So if there's an aura of like relaxed, confident, if you're kind of confidently relaxed in these given social situations, you have this kind of allure about you that women are just drawn to. So having that magnetism about yourself without actually having to say what it is you're confident about is what drives women nuts. And in order to be able to cultivate that, stop overtly talking about the stuff that you're doing, but also too, you know, don't be scared to mention a few things about your life as well. Now, for the guys that are watching this that are like, okay, I don't have a really awesome lifestyle. I don't know what she would be interested in. You're probably wrong. There's probably some stuff that you've done or you're doing that people would be interested in. So I would recommend that you write stuff down, write all the cool things that you do. And if you don't have those things, start doing them. Create the lifestyle that you want so you can attract the women that you want to. All right, you guys, well, thanks for watching. If you made it to any consider subscribing, come out with videos like this every single week. And guys, if you want to get mentored by me personally, there is a form in the description box below. Click on the link, fill out the form, and we'll get back to you. Thanks a lot, you guys.


I seek refuge with Allah from Satan the accursed. In the name of Allah, the Gracious, the Merciful. May Allah bless Muhammad and his family. Peace be upon you. Dear viewers and welcome to this show on Imam Hussein TV where we are analyzing various aspects of the life and legacy of Fatima Tzahra on the occasion of her martyrdom. Insha'Allah in today's episode we'll be looking at the injustices faced by Fatima Tzahra. Not only in her life but far after her death and we are referring to of course the legacy that she left behind and the fact that unfortunately it is not very apparent to circles outside of Shia Muslims both in the non-Shia community and also in the non-Muslim community. Insha'Allah to help me tackle this topic I'm joined by Sheikh Mohammed Al-Halli. Peace be upon you. Peace be upon you. Thank you so much for joining us once again. Thank you. So when we speak about the injustice against Fatima in terms of how much her legacy is apparent in the eyes of non-Shia circles what do we mean, what are we referring to exactly? Bismillah ar-Rahman ar-Raheem. Alhamdulillah ar-Rabbi al-Alamin. Wa sallallahu ala Muhammadin wa aalihi al-tayyibin al-tahireen. One of the titles of the Holy Lady Fatima Tzahra Peace and Blessings be upon her is Al-Maksoobat Haqquha the one who is right where you served from her. Of course, some of the viewers, respected brothers and sisters, others may be familiar with the life of this Holy Lady and how she was treated while she was alive in that not only her house was attacked and of course she was severely injured and her unborn child was miscarried and her house was burnt but also her right was taken away, the land of Fadak but also her husband's legitimate divine right of Khilafa was also stolen. Now, that is injustice on a very huge scale and it really breaks the heart when you remember the Masaib and the calamities that this Holy Lady went through to the extent that of course when she was sitting next to the blessed grave of Rasulullah sallallahu alaihi wa sallam her father she would weep and cry and talk about what happened and of course she would say this famous line Sobbat alaiya Masaib Allahu anna ha sobbat ala al-ayyam sarna layalia that the darkness of the hardship and the tragedies is so severe that they would turn daylight into night. So that is certainly something that needs to be constantly described and discussed and not necessarily put aside or ignored. However, there is another form of oppression and injustice that this great lady experienced and is continuously going through today and that is what happened after she left this world, after her martyrdom and that is in specific terms the narrations that talk about her life that talk about what happened to her that describe her characteristics. You see, Bani Umayyan, Bani Abbas worked tirelessly to de-fame, to distort to damage the reputation of the Ahl al-Bahit alaiya Masaib. I could not tell you of one individual from the 14 ma'as omeen who survived this in essence every single person today if we talk about Sayyidah Fatima or Amir al-Mu'mineen or Rasool Allah or Imam al-Sadaq or Imam al-Qadim or Imam al-Jawad or Imam al-Askari every single one was the recipient of character assassination after he left this world and that is something that a lot of money was spent a lot of people were purchased in that sense to write and fabricate and distort to spread these things because remember these people are the greatest threat to Shaytan and his devilish plans on this earth. So what better way and that is to go and tell people look they did this way they did that way but another reason why the Ahl al-Bahit such as Sayyidah Fatima were attacked in such a manner after they left this world is to say look we're not as bad because these people did this kind of thing so when you bring down the level of certain individuals and when you are so low yourself as Bani Umayyar Bani Abbas were you kind of can then say well they're not as much better than us they're like similar to us in that sense and so you can see that they invested a lot in this. Sayyidah Fatima al-Salam's legacy as far as the school of Ahl al-Bahit is concerned is very clear our remembrance of her our commemoration of her martyrdom our celebration of her birth but also the understanding of the short period of time she lived in this world and what she set out to achieve is a bright very empowering very illuminating legacy but unfortunately the moment we look outside the school of Ahl al-Bahit many will be shocked and in this episode I would like people's patience because some of what I will mention may be unfortunately inappropriate in the sense that it is more of an academic discussion I will quote certain individuals because there is one thing talking about emotionally there's one thing saying yeah these people talk this way and that way people will say okay give me demonstrations where can we find these kind of references that are there depicting Sayyidah Fatima in such a horrible way and how do we deal with them We need to understand the wider conversation We definitely need to present it in a scientific academic manner so that people can see that such texts actually exist I think it's very interesting this whole topic generally because in our communities we're very well aware of this great lady and she's such a big part of her life but I feel like the minute we step out of our communities very slightly people at the very least haven't even heard of her and I think that perhaps sometimes maybe that's a discussion we can have at the end about how much we as a Shia of Fatima have done in trying to spread the legacy of Fatima Zahara to the wider public so I think just beginning off firstly looking at the non-Muslim academic community I know you mentioned that you had some sources of what academics have said about Fatima do you want to get into that and just present what you have? Yes, yes there are some Orientalists and scholars who looked into the religion of Islam in the past they perhaps were inspired by literature that were non-Shia perhaps which is likely that they were but their depiction of individuals like say the Fatima Alayhi Salam leaves a lot to be desired in fact it's quite insulting and offensive let me quote to you this particular individual by the name of father Henri Lamans he died in 1912 in the 20th century he has a book in French in which he talks about Sayyida Fatima Alayhi Salam it's regarding her life he says he understands a thoroughly gloomy portrait of the daughter of the prophet he describes her Fatima becomes a woman devoid of attraction of mediocre intelligence completely insignificant little esteemed by her father ill treated by her husband often ill prone to tears who died perhaps of consumption so when I read this passage I can think that there isn't anything left insulting that he hasn't mentioned from the physical appearance to psychological description and so on here we have an individual who is a scholar trying to discuss this particular holy lady and describing her in such a manner which of course for some of us when they look at this they might immediately feel a great sense of hurt for us the followers and the lovers of Fatima Alayhi Salam she means much more than our parents our spouse, our children 100% much more than ourselves so she's greater in our eyes than we are to ourselves and so when we hear such a description or read such a description in literature that exists out there in academic circles of course it does hurt but one thing that we have to realize is this is not only Sayyidah Fatima there are similar descriptions regarding the holy prophet or for example Imam Alayhi Salam that is found in literature and what is interesting is I was very much delighted with the work of father Christopher Clohisi who has a wonderful book by the name of Fatima it's very academic but of course as a non-muslim he has to bring these references and he has to look at non-shia references as well so because he has to look at it overall he has included descriptions not this one in particular but for example as we will describe the relationship between Sayyidah Fatima and Imam Alayhi Salam that is unfortunately depicted in such a negative manner in literature of our brothers Dahlah Sunnah and so he's included passages, quite a few passages that show this marriage was full of arguments full of disputes full of disagreements and sometimes even hatred between Sayyidah Fatima and Imam Alayhi Salam something which we completely reject let's let someone cuts this and puts it on YouTube there's something that we completely unacceptable however we need to analyze it and provide evidence why we don't accept it what I'm really interested in is what led this scholar to I don't know if we know the reason as to why he sought to almost character assassinate Lady Fatima because I think it's one thing to academically criticize someone but here he just seems like he's speaking out pure and so on, hatred I mean do we know why his context was for this or what the reasoning was? Of course when you read the life of this particular individual I think you realize that some of these orientalists had a broader objective and that is to demonize Islam and Muslims and to portray as negative as an image as possible regarding the holy figures and personalities that are associated with the religion they had certain missions out there to establish and to distance people away from the religion of Islam and some of them perhaps were paid to do so however when we look at some other literature that is present not necessarily by orientalists by scholars and academic researchers and professors in the academic world today unfortunately when they come to analyze for example Imam Ali alaihi salam the viewpoint is through an academic lens so for example one academic here in the United Kingdom quite a known professor came forward and said Ali ibn Abi Talib was not a good leader he's a failed leader why? because in his watch four years and nine months there were three civil wars Jamal, Safin and Nahrawan whereas in the watch of the other Khulafa there wasn't as such for example and so he wasn't able but that's a very narrow very superficial look at the life of Ali alaihi salam because he was a man of justice he would not be feeding people and giving them what they wanted he stood for principles he was a man driven by principles he was a godly individual but of course sometimes in academia they look at only certain angles with what evidence exists today and I'd like to draw this point here and that is encourage our dear brothers and sisters to get into academic circles to do research based on Shia literature and to present the correct image of the Ahl al-Bayt Ali ibn Salam in these universities and colleges and these setups it's so important that we have a voice out there especially scholars who have been to Hausa established in the seminary to have academic qualifications the Masters and the PhDs and so on and so forth to be out there not to allow this literature to continuously poison the minds and do we have any more examples of Fatimah Zahar al-Islam in academic literature that you wanted to share with us? Well yes, we have examples unfortunately that exist in literature of for example a lady by the name of Vagliieri in a very well-known publication Encyclopedia of Islam Volume 2 in page 80 This is a very famous and well-referenced book It's a very famous book very well referenced in academic literature this individual she talks about the title Abu Turaab so she writes the name Abu Turaab the man of dust given to Ali has among other explanation one connecting it with the disputes between Ali and Fatimah instead of answering his wife in anger Ali would go out of the house and put dust on his head Muhammad seeing him do this gave him the famous nickname So this is actually in reference to a numerous number of narrations that exist in the so-called Sahih books Sahih Bukhari book 78 hadith number 228 we are told that Sahel ibn Sa'ad narrates that the most beloved name to Ali was Abu Turaab and he used to be pleased when we called him by it because Sahel ibn Sa'ad was a companion of Rasulullah he was amongst the ones who saw the caravan of Imam Hussain and Sayyida Zaynab and then helped Imam Zaynab he then says for none named him Abu Turaab but the prophet once he says Ali got angry with his wife Fatimah and went out of the house and slept near a wall in the mosque the prophet came searching for him and someone said he is there lying near the wall the prophet came to him and said where is Ali and he found him that he was covered with dust the prophet started removing the dust from his back saying come Abu Turaab get up Abu Turaab and what is interesting is Muawiyah one of the arch enemies of Amir al-Mu'mineen used to name him Abu Turaab so he would say to for example individuals why don't you curse Sa'ad ibn Abi Waqas was the father of Omar ibn Sa'ad companion of the holy prophet would refuse cursing Amir al-Mu'mineen but Muawiyah would say to him why don't you curse Abu Turaab because he thought Abu Turaab because of course it was Bani Umayyah who fabricated these narrations so he would think that Abu Turaab was a title that was given to Imam Ali because he would be angry would say to Fatimah leave the house and he would be covered in soil and dust Abu Turaab means the father of soil and so the prophet would be removing it and so he would label him as such thinking as derogatory whereas in our traditions Abu Turaab was one of the most beloved titles to Imam Ali al-Salam because it was given to him by the prophet and it wasn't in times where he got angry with Sa'ad ibn Fatimah because he never got angry with Sa'ad ibn Fatimah it was at times where for example some occasion says it was in the battle where he was sleeping under a tree next to him with Ammar ibn Yasir and Saul came on his face and the prophet came looking for him and wiped his face away from the soil and said so interestingly Bani Umayyah Bani Abbas what they used to do is take a title and fabricate a story about it and unfortunately it's not one or two numerous traditions exist in this particular regard I'll just quote to you another one that is unfortunately present in other works of literature of hadith that say the Fatimah al-Salam complains to Rasulullah this is in Sahih Muslim that complains to Rasulullah that you know Ali we had an argument and so he stormed out of the house and the prophet comes to Imam Ali and says to him why what happened let me hold your hand and take you back home and so I can reconcile between you and your wife Fatimah and eventually he does so and seeks to bring so unfortunately when we look at this literature that exists what kind of image is it presenting to Muslims and non-Muslims about the greatest lady in our view created by Allah SWT who is created not only she's created from the fruits of Jannah she's the best in terms of the choicest women of the world so Sayyidatul Nisa al-Alamin the one who brings the light of Imamah and prophethood sadly these do exist and we completely reject them so sheikh you mentioned how some non-Muslim sources look at say the Fatimah and also some sources outside of the school and how various factions sort to fabricate and defame the character how have the school of Ahlul Bayt responded to these kind of like allegations the school of Ahlul Bayt for 1400 years have been the voice and the defense of Ali Muhammad you see there is one thing claiming love of Ali Muhammad and another actually demonstrating it through works, through statements through speeches, through action throughout 1400 years there is no one or group of people who have defended the prophet and his family like the Shi'a have in every aspect whether it's these malicious attacks orchestrated by these individuals or whether it is commemorating their dates, their martyrdoms their willadats, their legacies writing about their lives, learning from their lives and applying it to ours when I look at for example Muslim I find the narration that says that the distraught Fatima wept in protest at the time of marriage to Imam Ali because of poverty this is in Musnad Ahmad Ibn Hamal very well recognized source and so on in volume 4 of Bukhari Sahih Fatima Salamullahi Aleyha in that tradition complains to the prophet that Ali wants to marry the daughter of Abu Jahl and the prophet said Allah, the daughter of the prophet marries the daughter of enemy of God they don't go hand in hand that cannot happen and so he goes and he says to Imam Ali according to Bukhari which many Muslims said they consider today to be Sahih or completely authentic that he went and said to Imam Ali either my daughter or the daughter of Abu Jahl and so on this school of Ahlil Bayt responded it's all well and good saying yes, we reject it it's not acceptable, it's not something we agree on but we have to show evidence we have to show proof and we are clear in our proof number 1, the way we categorically reject any form of disrespect, dishonoring and something which puts in question the ismah the error free sinless nature of Sayyid-e-Fatima and the Ahlil Bayt aleyhm salam and the holy prophet and all the prophets and notice I did not use infallibility because infallibility is a term that is not in accordance with our understanding of Isma. Infallibility means unable to err, whereas they were able to make mistakes but they never did not even think about it. Error-free sinlessness is better. So, ayat al-Tatir, 33, 33. In accordance with Muslim Sunni and Shia, whether they believe that the women, the wives of the Prophet are included or not, of course we have evidence that they're not included. The evidence from the Qur'an, the wives of the Prophet disobeyed him and committed sins in Chapter 66 of the Qur'an, whereas 33, 33 says, إِنَّما يُرِيدُ اللَّهُ لِيُذِبَ عَنْكُمَ رِتْسَ أَهْلَ الْبَيتُ وَطَهْرَكُمْ تَطِيرَا شُوْلِ فَرِلِ اللَّهُ wants to protect you, O Ahl al-Bait, from all the kind of vices and impurities and thoroughly cleanse you of the purification. Notice I said, protect you, not remove from you, which many of the translations of the Qur'an sadly have. Remove for you means that they already had and then Allah removed it from them. We believe that they were born sinless and error-free. So Ayatul Tattahir definitely includes Fatima. How can we accept Fatima and Ali? And of course definitely includes Amir and Mu'mineen. How can we ever accept that Sayyida Fatima and Amir and Mu'mineen argued with each other, were angry with each other, disputed with each other and had fights, whereas the Qur'an says they were error-free and sinless. Fighting and disagreements are all vices. Things which people today may be able to stay away from in their marital lives, whereas we expect to somehow accept that Sayyida Fatima and Imam Ali had this going on, unacceptable. Secondly, Hadith al-Thakalain, that the holy prophet in a chain of narrations which is as sound as the Qur'an according to our Ulema. You know the Qur'an is so authentic, Hadith al-Thakalain is as authentic. As authentic as the Qur'an. There is no doubt about it. It's so sound, so mutawat, it's so strong. I leave for you two weighty things. I leave for you two weighty things. The book of Allah and my Ahlul Bayt, once you hold on to them, you will never go astray now. And we know that the Ahlul Bayt includes Sayyida Fatima and Imam Ali. This means that they're on power with the Qur'an. The Qur'an clearly comes forward and talks about good marital relationship, that you should treat your husbands and wives with respect and honor. You should not exercise this kind of disrespect both physical or verbal. So if they are on power with the Qur'an, how do we explain this kind of behavior? It cannot be explained because they are the walking Qur'an. They demonstrated Qur'an in their lives. In the life of Imam Ali, that's the third proof, he's the one and the life of Sayyida Fatima. You see their lives in authentic, reliable traditions. They did not exhibit such a thing whatsoever. And Imam Ali praises his wife and Sayyida Fatima praises her husband. We said in the previous episode that Imam Ali, when he was taking the will, Sayyida Fatima said, I never upset you, I never angered you. How could she say such a thing like this? And these narrations says that they were being somehow angry with each other. The story is very out of their character. Yeah. I need to mention this very important point. Some people might say, okay, what is your fourth response? As a school of al-al-bayt, we mentioned Qur'an, we mentioned hadith, we mentioned the life of these two individuals. But we believe the fourth response is very important. We have to study why such narrations exist. The motives behind them. Why do they fabricate traditions saying Ali and Fatima fought each other? The reason is because we have reliable traditions in the books of Shia Ansunni literature that talk about whoever angers Fatima, angers Allah, isn't that found in Sahih Bukhari and other traditions? So Fatima is part of me, whoever travels her travels me and whoever does so, of course, angers Allah. So when I was looking at hadith literature, I found that unfortunately, a lot of them outside the school of al-al-bayt used to quote this hadith of the Prophet after describing that Imam Ali angered Fatima. So they want to put two together. They want to attack Ali by attacking Fatima. So they want to say see Ali angered Fatima. If the first Khalifa was angry Fatima, that's okay. Because they're both angry Fatima. So don't be so hard on the first Khalifa. If you use this to say that she was angry with the first Khalifa because he took her right away, so did Ali, they said. So they had to fabricate something to justify the actions of others. This is why these particular traditions and fabrications are there to try and somehow legitimize the sadly, the wrongs that say the Fatima, Salamu alayhi alayhi, faced in her life. I think it's very interesting how so many people over the course of history have felt threatened by not just Fatima, as a person, but her legacy and generally the legacy of the al-bayt. We've spoken about all these various unfortunate narrations concerning and fabricated lies against this great lady. In the last few minutes that we have, what can we do as followers of Fatima, as people who claim to love Fatima and serve Fatima, what can we do in this day and age to not just tackle these misconceptions and ensure that a legacy is cemented in academic and study circles, but also just generally show Fatima to the wider side, to the wider world. If people knew about us, they would follow us, but of course knew about us in the right way, in the sense that the correct knowledge should reach them. Today, Alhamdulillah, we have organizations like who is Hussain, for example. We need who is Fatima. We need to have literature that is presented to the non-Muslim world about the legacy of Sayyidat-un-Nisa'a Fatima, from Shi'a traditions, stories written, plays, movies in the way that our Marajah have accepted, the way that our Marajah have allowed so that we are not keeping Sayyidah Fatima in our own mosques and centers. We are sharing her amazing lessons and teachings to the outside world. How many people, even in the Muslim Ummah, have heard of the sermon of Sayyidat-un-Nisa'a Fatima and the rich lessons that exist within it? Today, we hold a Muslim who is a non-Shia and say to him, tell me, can you speak for five minutes about Fatima to Zahra? Five minutes. Why is it that today the number one name given to females around the world in the Muslim countries as far as Muslim females is not Fatima? She comes way down. We haven't necessarily presented her teachings in the way that we should do or invested as much as we can, not only in the academic circles, but in every other way possible. We should have seminars and conferences and literature where we invite those of our brothers, school of thought, who are sympathetic and lovers of Ahal al-Bayt to talk about the greatness of this holy lady. We should have apps. We should have websites. We should have webinars, use technology. We should have these vlogs and small clips that should go viral. We should have podcasts as much as we can to illustrate what she means. And just like how the world today knows who Gandhi is. Just like how the world today knows who Nelson Mandela is, Mother Teresa. I'm pretty sure that these names are much more known than say the Fatima, unfortunately. We need to wake up and spread the light of Fatima as much as we can. And we are inspired by her life and we have a responsibility to do so. I think just leading on from that conclusion, when you mentioned some names like Mother Teresa, I think if you step outside the Muslim community, you see female figures who we really, you know, who are inspirations for us as well, like for example Mary, the mother of Jesus. And I feel that so many people outside of our own communities would benefit from Lady Fatima if they just knew about her and what she used to do for her and how she can inspire especially if you bring about this whole comparison or bring discussion of Mary and Fatima. There are, there's one or two books I saw from non-Muslims that are bringing these to how they are important, one in Christianity and one in Shia Islam. But what is interesting is that we can also speak about the greatness of Mary, and how she means so much to us as well. So bringing these two characters together will help also in interfaith programs as well. We can utilize these personalities in getting closer and strengthening community relations. Thank you so much. You are watching this show where we are remembering the legacy of Fatima and we discussed various injustices that exist against this wonderful role model now in the centuries after her death. And we hope that together, each of us, we hope that you at home as well are inspired to try your best to push forward and spread the legacy of Fatima and Zahra, in the wider world, whichever way you can. InshaAllah, we'll be back in the next episode. Please join us in. As-salamu alaykum wa rahmatullahi wa barakatuh.


All right, let's play this in full. Actually, I know that rig It's cool, right? Animation is cool. Let's play out before I comment some interesting stuff All right, my main impression is that it's soft where actions actions just feel kind of spliny and floaty and Lacking weight. I think that's the main Main critique that I have it's almost like a soft dance. Why not all of it? Because all this is cool. I like all of this. I think the only thing that I would look at for here is that this doesn't seem Heavy just because it seems like it's I see it a little bit behind that foot. Hold on. Let me Be fancy and the color you can see so that seems a bit behind that but to me it feels like you want to trail this This spiky ball back here with the chest rotated this side away from us because this side is pulling him back As he moves towards us Right and through here you go kind of a back and forth between a bent arm kind of stretched and It doesn't seem like it would be fairly Stretched out maybe slightly bent, but he's kind of pulling it along. I Do like this that there's a rotation in there But then after that it feels very very straight like it's going to be pulled along those spikes That's going to be digging inside inside the ground But then it might come out and rotate and then it's it's gonna be hooked up on this I think given that this is not just a ball. It's gonna be a lot more complex to show so either you You do show the weight and it's pulling him backwards as he comes forward and and contact points will change as this rotates, you know a little bit needs to be a little bit uneven or You don't do it and you just have the character always kind of like that Arm up this way, but leaning over this way for the balance Just to avoid the complications of this. That's fully up to you That'd be my comment through here But this is cool. Like it seems like he's getting ready Everyone like who is he yelling at but then this guy comes in which is cool, too I like this is good energy there Comes in fast and I like that there's kind of a I mean you could push the anticipation. It's a bit Small it seems to be part of the run Does get lower, but if there's anything you can do to You know it could be a moment where maybe arms are out This is very twin here, but arms are out and really bent over in the head down here But we can really feel that squash and then That coming up and it might be an up where maybe the legs are closer together, so it's just a bit more streamlined maybe There's just something about if you shoot really really fast up But then the legs are kind of out like this it doesn't give you that that arrow feeling of shooting up Feels like that you could push and I'll be careful. I know if that's an enveloping or a breaking the rig Issue I'm sure it looks a bit funky, but to me it seems like you want to Push that especially when foot is here and then you push off That foot was here, but now it's here like to me it would be pointing where you just pushed off For sure on the on one frame after Towards the end you can maybe start, you know being this pose maybe But that'll be my thing there But I do like that it's kind of a surprise and there's contrast between what this character is too fast and This guy's the law, you know Lumbering is that a word? It's a slow-moving Character because of this weight. I think that's cool and I like that It takes a while as well. What's going on here, huh? And I do like the handheld feel of the camera. I Think the first half is all really really cool. That's all neat and it's not too much. Let's see. I Like that. It's a bit of a an adjustment. I'm not sure if you need to have Such a quick adjustment in the camera here. I'm glad that there's no shake. I need to overdo it with shake But I think you can I would soften that this feels like the camera comes down because of I am that slam like oh I need to reframe this slam But I don't know if that's that important that seems a bit presentational I think you can soften that and just keep that handle and follow. I Think if you do a lens change like that Not a lens change, but you look like a focus change I would start a bit slow and then zoom and then zoom I just a bit faster and then The time between overshoot coming back as if it was a hand that adjusts that it's a bit overall a bit slow I think it could a bit more texture in that timing of slow and then that Then he reacts And again, I don't mind him reacting slowly because it's kind of like oh what happening well then When this character comes in I think then it falls apart and that's pretty much halfway through so When this character comes in That's cool. There's an immediate impact on this, but then this seems very very Soft and the dance feel is that they are they are helping each other because it's such a oh I'm bringing you over with my hands and there's no impact like to me It would seem like we like I can roll off and then squat and crouch with maybe one foot Locked and then the other one kind of sliding out for an interesting line of action like this but now it's kind of Coming down fast and floating over this way Sliding and there's barely barely a compression There's a little bit through here and then suddenly he can jump over this way, which again, it's got real-time It's again feels a bit It's not super slow But it's that lands that feels super floaty If you have less of a slide more compression then Take a frame or two out for more of an explosive jump was again You want to contrast slow with agile and fast That is okay like this. I don't mind Where to a point where I would probably add actually a frame potentially to this or suddenly those legs shoot over a bit fast Mainly because it's the spacing is so small and then you have one or two frames of fast But then it's slow again it then if it's like that it seems always a bit like a bit of pop You can go like explosive Bring your legs over, but then I would shoot those legs over really far Then with a little bit of an overshoot adjustment with maybe one leg just to give a bit of a You know the momentum has to go somewhere That is definitely feeling like you're easing into that drop and this feels fairly soft and strange How it just collapses like your kill is healed which was explode here I don't mind that he lands in this he that feels better with it with a foot roll Which is that land feels just very very soft, then he gets really loose. I'm gonna focus on him since he's the biggest Floaty guy here that again feels this feels Hollywood where they're on wires is a harness their wires And they're slowly pulling him up Unless you unless you use reference and its actors on wires Same thing here once you get up there that feels just kind of it has a nice bouncy feel to put it this way But it's just very very soft This feels also very soft and very playful my arguable Maybe a this guy is playful how he fights with him, but even this if you look at the fee It's all very just a tattoo slow and it's very very soft. Especially this Peer right here this turn very soft, and then he keeps on bouncing so I mean My question to you is are you trying to show that this character is playing with this character? And that's why it's almost like Muhammad Ali. I'm you know It's a quick like a butterfly. I should know that quote This thing I could be You know, I just this seems very very bouncy and floaty So it's brief. I guess it's a question for you I don't see anything in the email turnover any info on that So let me know and then I can adjust my critique like in terms of what this character is doing Watch out something like this work how this ball comes out again You're pushing the ball forward and to me it would be no no no He is turning and then that ball is still there and it's dragging. It's really dragging for the weight The body is really twisting and leading the whole action Like that is cool. I like this here even though here I would Stretch it out and just really play up that silhouette and bring it high up there to have something like this This feels better But the fact that this is bent towards us again loses its weight a bit now in my argue Yeah, but he is swinging it this way wouldn't that ball go this way? Yes But then I would just wouldn't swing as hard then I would just start going up here up and up and up You know, I mean just start to swing earlier. Even though this is a nice silhouette. I will prefer a Nicest silhouette here and compromise this sooner Boom, but that's cool. I like that impact and it says put maybe you can have well she does pretty good for the weight I was thinking maybe a little bit of a roll in maybe like one or two frames of a crack But I like how he continues to move forward boom That really shows the momentum as to continue on where there's so much swing. That's gonna pull that character forward. That's all cool That impact See to me I would do from here to here and Eliminate this So it's pow and even then after this I would eliminate this frame and go straight to here It's when I miss quick time quick time. I could just edit those frames out And so that impact is a bit faster Even this recovery seems a bit slow high comes down and watch out your arc. It feels a bit linear That Smack is a bit better, but again, I will probably take out this frame and give it's just a lot of impact and force through here Although I do like how then the arm continues swinging, but then I would sleep kind of continues Turning that head and why it seems like after this it's just a ragdoll But then because the thing is if you're doing this I'm what you could do To get this feeling of ragdoll on this guy is just completely knocked out. I would just do See I'm not quite buying this either but the head is turned away. Is this I'm trying to grab or is this a Please stop. Please stop. I can't really tell the difference So what I would do here is boom He does that swing back all this with his arm is happening and then to me I would just Dangle that arm so that the iron the arc is up and then down here and keep that arm down So that you really play up. I'm knocked out. I'm already a ragdoll and boom and then it's that And then if you are playing up the fact that he's bouncy to play around give this another second where after this Bounce one more time to land chest towards camera So he can gloat and then you might as well end with a Muhammad Ali type of thing where he's you know Is looking down Onto the character just to feed it if that's you know part of the reference that you're going for Or just me projecting All right, that's kind of it That's my impression on this shot is some cool stuff in it. My main concern is the weights, right? Thank you All right, there's an email you can sign up you can start whenever you want you can submit whatever you want You get 16 submissions either way the like and subscribe would be awesome. All right. Thank you


As you well know photography has the power to bring to us in a very real and visceral way the awfulness that is going on in the world on a day-to-day basis and the last two years have been no exception. Now I don't know about you but I am sick and tired of this unrelenting barrage so I just want for a moment to try and draw the curtains on the world outside and and take a break from all of this and we do this by turning to the other great ability that photography has which is to create fantastical worlds, to create ideas and places where we can just simply go without having to worry about the the day-to-dayness of our existence. How's it? How's it? David Litterpell is the one that we really want to turn to here. He is a fantastic pop art photographer whose worlds exist really just to create beauty, to create escapism and and a little bit of fun as well. What better antidote to what's been going on at the moment than all of his fantastical photography? The first introduction that I ever had to the world of David Litterpell was this photograph of Alexander McQueen who was standing in front of a castle that was on fire you know with some sort of rebel yell to his his expression and I think the title about the image was something about Alexander McQueen burning down the castle of fashion and I think it was in practical photography or some other magazine like that that was reading on the bus on the way to school one day and and it struck me that how is it that a photographer was able to create this kind of thing because up until that point my experience of photography really had been the sort of images that you would expect to see in a magazine like practical photography and you know and I was vaguely aware of some photographers like Avedon or Liebervitz or have you who at the time were not really doing certainly Liebervitz wasn't doing these elaborate setups that he's become latterly known for so the idea that McQueen could create these sets could create these these almost bubblegum pop arty images was completely new to me and it fascinated me in a way that a lot of the other contemporary photographers of the time didn't as a teenager David LaChapelle found himself in New York and actually working at studio 54 and all of that clubbing scene that was sort of prevalent at the time so it is no surprise that you can sort of see within his photography where the roots of these these worlds that he has created have sprung from they you know he is using photography as a way of just capturing sort of beauty but it's interesting when you listen to him talk about his background about his mother's own attempts at photography it shines a very different light which I think is actually quite prevalent in today's world my mom met my dad she came to me she was in America for three days and met my dad working in tobacco in Connecticut picking back up my dad was putting himself through college and she used to do these photos set up these elaborate tableaus on weekends when she had time off from work and raising us kids she would set up these tableaus that's me the baby the family and she made these little wings out of paper and this got more and more elaborate as I as we grew up and we she was creating this sort of as an immigrant coming for from war torn Eastern Europe from camps and and all this you know the horrors of war she came to America with this idea of this American dream this aspirational idea of what it should look like and sometimes she would take us in put us in knee socks and everything's like every weekend knee socks and turtlenecks and we you know we hated it but we had we did it because it was mom's thing was her aspirational idea of the of the American dream and that's not our dog and that's not I don't know what country club that is but we didn't belong to it and we didn't dress like that either but that was picture day I don't often talk about photographers being lucky because I think that's slightly unfair but with Le Chappelle's photographer he was certainly a person in the right place at the right time you know being in New York in in the late 70s early 80s he was involved in the club scene you're obviously working at the studio 54 and he was having exhibitions of his own photography you know dealing with his his inner conflict about the AIDS thing with you know in friends apartments and this brought him to the attention of Andy Warhol who was at time you know doing interview magazine and Warhol famously said to David Le Chappelle that it doesn't matter what you do just so long as you make the people look good so can you imagine what a what a hot bed of creativity that must be that's your only breathe just so long as the people look good then that's fantastic and and the outpouring of photography that Le Chappelle created from that moment forth I absolutely adore I love it has a it's got a bubble gummy kind of feel to it it's got a you know a sort of a slightly surreal edge it is completely escapist and it's extremely seductive I often feel a bit conflicted about looking at David Le Chappelle's photography because I in one hand I'm extremely drawn to the to that world that he's created that he says that he hopes lives somewhere or exists somewhere just out just out of sight somewhere around the bend you can imagine these people are actually living this life and I look at it and I go oh that would be so cool to just live in that slightly hedonistic world where there is no worry beyond beauty about enjoyment about life about you know having well fun but then I think you know actually I'm quite a boring traditionalist person look at what I'm wearing you know as I have an earring but that's that's probably the biggest sop that I have to you know so hedonism which is oh my god I've got an earring and you know but so I don't think I would necessarily want to live in these places you know in the real life but the idea the idea is what draws us in that it it teases us with a world that could be real and I think I certainly wanted to be real but ultimately we know that it isn't it is bubblegum pop art escapism and then of course is the beauty of the thing that is not trying to really create a huge message just not trying to drive home just look at this you must live your life in this kind of way it's not really having a a grander message than beyond a place for the shepell to create again I keep coming to these words back to these words beauty and and escapism but that's what that's what he wants to create so I was I was creating these images out of out of an escape and what that created and gave me the sense of doing something you know I didn't it wasn't about leaving a legacy it wasn't about oh I want to you know leave a mark behind I actually just wanted to have a purpose for having been alive I thought I was gonna die too so I didn't think I was gonna live past 24 I just had this number in my head that's how old my boyfriend was when he died I was 21 he was 24 so I got my head I'm not gonna live past 24 so I want to get some beautiful pictures out in the world before that happens so I started making these images first in black and white then in color and they're all like about these spiritual questions and ideas of heaven ideas of of immortality ideas of the soul and what does that look like cutting negatives and painting them with dies and then having gallery shows at my friend's apartment in New York City which is now a successful gallery this is pushing my friend Jeffrey you know and it's sort of like the the the sadness of that time too there was such sorrow and losing so many so many people and you couldn't even mourn them properly because you were so scared of dying yourself you know so my mom was creating out of this aspiration to create images of a of this idea of this you know American family her idea of the of America I was creating at that point out of a way to put my energy out of the fear and out of the the pain and into something I could give to the world and have to have a purpose or be alive these days I don't often ask people to share videos but in this this instance I want to make an exception because as I mentioned there are there's so much rubbish going on and I could say stronger things but I but I won't I I'm tired of of being full of just awfulness the whole time that people are just wherever you turn all you are confronted with is is is it's shocking images things that make you sad that tell you that the world is awful and and we need to counter that we need you need idea we all need to to help people remember that there is better stuff out there that we are all of us individually better than this share these images with anybody who you think would enjoy them who they might bring a little bit of light into their lives because this is what we need right now we don't need to see more and more and more and more pictures of awfulness going on we know it is going on we understand it but we need to counter this with some just some light some some brightness it won't make the the horrid better but hopefully it can make it easier for us to to to deal with now this is not to say that David Le Chappelle doesn't inject some sort of social commentary into his photography and one of the reasons actually why he ended up going and and living in Hawaii on a farm just you know cutting himself off from photography is because of what he found an uncomfortable overlap between his magazine commercial work and then real-life experiences kind of finished i did this series house at the end of the world this is the last story i did for magazines and it was about hurricanes and the destruction of climate change and this is this this is shot in in the spring and when it was on the newsstand three months later Katrina happened and people were phoning Italian vogue upset because they thought that i had like seeing the images of Katrina and done a fashion shoot about it and they thought that was exploiting a tragedy and the images were shot you know three months prior but they just happened to be on the newsstand and i knew then i had to leave the world of magazines that my pictures were not coinciding with the the needs of the magazine the editor called me from Italy David why the pictures and you look at people calling the magazine they think it's about the hurricane and i said it is about hurricanes you know i just didn't know i didn't know Katrina was gonna happen but you know i was leaving my mom's house in florida and they're putting up their the hurricane shutters and and i couldn't do anything about it i felt so helpless so i was always doing what was on my mind and letting that come out and in the images Latali David LaChapelle has created more artistic photography so he's gone back to his original his come almost full circle so he's given up on the the commercial side of things and become a photographer in the artistic sense exhibiting in galleries and and i find that a heartening thing to see because it is far easier to create grim gritty raw real images that that you can use to say look look how awful the world is and hopefully affect change that way then it is to create images that are simply about beauty now of course beauty is in the eye of the beholder and his idea of beauty may be different from yours may be different from mine but the thing is he is creating beauty he is actively seeking out ways of making a statement but in a way that isn't full of despair i really hope that all of us you and me and and everybody else who's watching can do something to bring a little bit of light and beauty back into the world in our own small ways there isn't enough of it out there just want to tell you that you know make that quiet time make that space where you're away from your friends away from everybody because we have all the answers inside of us when it comes to creative things ask yourself not what you're gonna get you know from a career in photography or a career in art direction or but what what are you gonna give and that's what i always did from when i was really young was what can i give the world that they that that would ease ease ease the pain of the world or or bring some joy or touch people in some way or bring a smile to their face or some color and and i did that i i i was always asking what i can give i never thought about being famous or being a lifestyle i wanted to take photos that were famous that were people would see i didn't want to sing in the shower you know but i wanted i really wanted to give something not not what i was going to get i talked to a lot of students and i always tell them you know what are you gonna what are you gonna give the world that that in as far as imagery goes as far as being an artist you know you can create darkness and more confusion and more things that nobody understands or you can create something that's you know enlightened and and can touch people or you can attempt to do that you know and that's and that's what i try to do and and make that quiet space so you can hear that voice which is your gps as an artist we don't have you know a guide like being a lawyer or do goodness this class and go to this college and intern at this law firm you know artists i would have never could have never planned this journey that have taken me from galleries to magazines to to to the island of hawaii unless i'd followed that voice and made that quiet time i could hear it you know so turn your stuff off turn off your devices and listen and um and let life inspire you whatever you're going through another photographer who creates equally fantastical world but from a whole different perspective is Desiree Dolrin i put up the video here go check her out thank you ever so much for being here today and i'll see you again soon