Welcome to Monet Cafe, artistic friends and visitors. I'm artist Susan Jenkins. I think you'll really enjoy today's lesson and art is definitely better with friends. Please click that subscribe button if you'd like to have more of these videos coming your way. Hello, artist. I wanted to share something with you because I know a lot of you guys are creating paintings and you're proud of them and perhaps you might like to make a calendar with your artwork like I've done. I just got finished updating my calendar for a 2021 calendar with all fresh new paintings, more current artwork of mine. And so I thought I'd share with you, of course, my calendar, if anybody would like to purchase, I will have a link to my calendar in the about section of this video. But getting on Zazzle is really neat because you can make your own products. I know I use Fine Art America a lot, but Zazzle has a calendar and Fine Art America does not. So it's kind of neat to share your paintings in calendar format. Now you will have to, if you wanna do this yourself, you'll have to get into Zazzle, create an account and you'll have to create a designer account. And it's not all that hard to do. And then when you get in, you will have to choose a product to design. Now I've used Zazzle primarily for some of the designs I can't get on FineArtAmerica.com, one being the calendar and one being the apron, the Monet Cafe apron that we have. But if you wanna check it out and look on there, there's all kinds of different things you can design. You can design business cards, little icons and things for Etsy. You can design things for Facebook, different, probably Facebook headers. I haven't used Zazzle for that purpose, holidays and occasions. So they've got all kinds of neat templates. If you need to design things for Instagram, invitations and oh my goodness, the sky's the limit. And basically when you create a Zazzle account, you'll see a create button in the very top bar up there. Ignore my mouse where I'm pointing there. But in the top where it says Zazzle on the top, go to the right, it says live create marketplace.  And I like this little two-page medium calendar. And then it will take you to this layout and you're going to have to design it. So what you'll do then, and I'm just showing you here, all of the pages with nothing on it. So that's where your artwork's gonna be. So we're gonna create our own and add image. When you click add image, now I have all these previous images saved, but you're gonna have to add your own image. Now you go down to that little layer section that the bottom left down there, and that takes you to your layout. All of your pages, you've got a cover, you've got the back of the calendar, and you've got all of the 12 pages. Now you can see there's nothing in there because you haven't added any artwork. So you're gonna have to add some artwork.  You can upload from your phone or your computer, but I'm gonna throw one of my images in here on the cover. Now you see it's too small, so I'm going to stretch it by the corners and make it fit. Now you've got a little preview to the bottom right there. You can see, you can move it around with your mouse, and then you can also add text. Now I'm just gonna add something.  So then you say okay, it allows you to position the text, it allows you to choose another font if you like. They've got like a gazillion fonts in here, which is really nice. There's a lot of these self-designing websites that don't give you that many choices. So this one's really pretty neat. I tend to go for a font that is sort of fun, but not too childish looking. I also usually don't like ones that are too cursive or too fancy. I also like it clean, legible, easy to read, and sometimes they're just not. So you play around, find what you like, and also too, obviously I'm going to have to change the color of this one as well. So now I go back to the text. You click any item and it'll take you to its controls. And I'm gonna pick white. So now that shows up a lot better. So then you can click the little preview button and see what it looks like and get out of that. And once again, you wanna go back to design your page. You go to that lower left, where it says layers. I apologize if I'm going too quickly. You guys can slow this down and rewind it if you need to. I'm adding another image. I'm gonna go ahead and do the same image on the back of the calendar. I think it looks consistent when your front and back image is the same in a calendar layout. And then there you go. And I'll add text. You can add your website, your contact information, or just your name, whatever you like. And I'm just basically, it automatically by default puts it in the same font. But now notice how it's too big. I'm gonna shrink it with the corners there to the size that I want. Whoops. And then over there you can change the font size. I was thinking I could shrink the font size by just the corners, but you can't. And you decide where you wanna put it. I thought probably up better because sometimes you want it to be on a darker part of your image if you're gonna use a white text background. Or white text. Now we're gonna go to some of the pages. Now first when you click it, it's weird it doesn't show the dates at the bottom until you add an image. So let me just add one of my images. And then once, see now it added the calendar. And I see it needed to be a little bigger. You can always go back to preview and see if your image is large enough to fill the predetermined space. Go back to preview, take a look at it. When you're done previewing you just exit out. And also I'm gonna go ahead and play around with this a little more. Go back to layers. But I wanted to describe to you guys that when you add a file and you upload an image right there of yours, once again find it on your computer or your phone. The program fortunately, I'm gonna purposely do this. I'm gonna pick one I know is a low resolution. I'm gonna make it bigger. And up there at the top right you can barely see it. There's a little yellow, it's an exclamation point. Sorry I'm maneuvering around a lot. Let me see if I can point at it. And it is a warning that your image is too, right there, that little exclamation point top right corner, it's too low resolution. The print, the final print's gonna come out blurry and you definitely don't want that. Now the great thing is too, if you mistakenly missed that and you go to finalize your product it'll give you another warning and say one of your images is a low resolution and definitely don't go forward with that. They don't look good when they come out blurry and you won't be happy with your artwork looking that way. So I'm adding a few more images here. Now you can go back to preview. Look at what you've done and so you guys get the idea with that. And once you're done, you go to the done button that I just clicked, then you can go to sell it.  You have all these options, the start date. I love that. What if you wanna start it in March. You have this as neat, you can pick the culture. You know, I know we're all over the world with Monet Café. So you might be in another country and it allows the calendar to give you options. Also, even in the United States, a Christian events or Jewish events. So it's kind of neat that it's very customizable like that. And I like the two page layout. I like the wire binding in white. And then you get to choose what type of calendar printing you want. I kind of like the either the first two, classic frameless or classic grid. And then again, you can do the preview once you're in this editing option here or sell it option here. You can, I don't have all of my images in here so it's actually not gonna let me sell the calendar or it's gonna give me a warning again. All right, let's click sell it here. And again, you see those red boxes? That's my warning. It looks like one or more of your products is blank. Did you mean to do this? So you go back to edit and you add your images. And I think pretty much you guys can probably figure out once you have it all done and you click sell it, it's pretty user friendly to get through to it. It allows you also to share it in multiple platforms. This is my store. You can create a store if you want to make your own store of images and things people can buy. But sometimes you're just making a product for yourself, which is fine. This is what I use to make the Monet Cafe apron. And a couple of Monet Cafe coffee cups. So I again, use Zazzle more for the products that I can't make on fineartamerica.com. Mostly my prints and reproductions are on fineamerica.com but it is really neat to be able to offer a calendar. So I thought I'd just share that with you guys in case you'd like to just make one of your own artwork or make them, buy them, give them as gifts and share your artwork with friends and family. All right guys, I hope that was helpful. Happy painting and happy calendar creating.


He realized when you get an old timer here, you want to get someone who's old who experienced the past. But you don't want to get him so old that he forgot the past. You're right. And I only hope you hit it right. I'm sure we did, actually. So to start with the beginning, you were quite a nice little boy here, born in Canada. That was taken 90 years ago. Really? And your name, actually, this is not Peter. This is grandfather, right? Because grandfather gives your name, right? So very quickly, you were a good student. So you went to McGill in 46. You graduate, and you were interested in, I give you all this little bio here, in chemical engineering, basically. And then go into physical chemistry, right? And go for a doctorate. But in between, you marry Rose, which, as I recall, your dad was not totally convinced you should do that at that time, right? Well, he couldn't understand how I could get married when I didn't have a job. I was still in graduate school. So that was his big concern. He was concerned about, can you sustain a family, and so forth, too, right? So anyway, you graduate in 49, and look for a job, and the other important step, actually, you had this interview at Kodak, which was there with John Caloon, right?  Can you talk a little bit about him? Well, I got my graduate degree in 1949. Yeah, closer. Closer, can you hear me now? And at that time, there was a slight recession in this country. I wanted to move to the States because chemistry in Canada was primarily quality control. And that's not what I wanted to do. So that's why I applied to the companies in the States. And I sent out about 80 applications. I got three responses, which isn't a very high percentage. Is it with the Guru or what? And anyways, I was interviewed at Eastern Kodak, and I had an advantage. Because the man that wanted someone to work in his lab was Dr. Jalan Caloon. And the advantage I had with Dr. Caloon was he was also Canadian and also got his doctorate in McClelland University. So I didn't have to be very smart to have him like me. And I went to work at his lab. And I maintained a relationship with that man all my career. He was an outstanding individual, very conservative, very thorough, very honorable. And he didn't always appreciate my humor. So you were hired. And in 55, actually, you become the head of the physical profiteur laboratory. And that's become you stay there all your career. Can you tell us a little bit about the missions of that lab? Well, when Caloon was promoted, I just hopped along behind him. And I took over responsibility for his lab. And that was about half a dozen people. But then the responsibilities of the lab increased. One of the reasons was that Kodak wanted to cut down the number of management. And so other labs were eventually rolled into mind. And when I retired, I think I had something like 45 people. And that wasn't always a blessing, because you get away from the technical work and spend a lot of time with personnel. And usually, on the 45, two or three of the people were the ones that gave me the problems. So you follow all this transition from nitrates to acetate, to polyester that Fernanda and other speaker talked about. And your role was to test most of the physical property, to try to develop some, what is the best base for this product and so forth, right? Yeah. Well, we were very much involved in the change in the plastics that were used. And Fernando gave a very good description of what happened over the years. When I started at Kodak, there was still manufacturing cellulose nitrate. You can wonder why would Kodak produce a film on such a highly flammable material. And that was a real problem for Kodak. And they worked very, very hard to try to get rid of cellulose nitrate. And reference was made earlier this morning to the disastrous fire in the Cleveland Clinic in 1929. And that was when their x-ray storage went up in flames. In fact, my brother-in-law studied at the Cleveland Clinic about 25 years later. And the man that he worked under, a physician, was still suffering very badly from smoke inhalation from that disastrous fire. And there was another disastrous fire, the National Archives. You would think the National Archives wouldn't have fires, but they did. And this was their aerial film, which went up in flames. And then at the George Eastman House, their collection went up in flames. Fortunately, the film storage area was not attached to the main mansion, which is very important to some people. Yeah. Yeah, but by the way, I changed the name now. It's not the George Eastman House. It's the George Eastman Museum. So you, as Fernanda, I think, said, you wrote something like 80 papers in your career. And you told me that a few are good, right? So we will try to pinpoint those. And the first work that I would like to underscore here, it's the Britain Earth test, because I think it's very revealing of you looking for the right testing, but also the simplest, the most elegant solution to a problem that can be complicated, right? Well, this is when I started work for Calhoun. And one of the first assignments I had was to investigate why some photographic films are brutal. And this certainly became a high priority when the manager of film manufacture was skiing in the cold, and his film broke. That immediately gave that property a very high priority. And the first thing when you want to investigate a property is you have to learn how to measure it. And the way they were measuring brittleness at that time at Kodak was really very poor. And so this wedge brittleness test was one that I worked on myself. And it proved to be very good. It's very, very simple, which is one of the advantages of a nice test. And in fact, the Kodak had a pretty broad view of activities. And they suggested that this be published in a paper and released to everybody, including their competitors. And this test was used at IPI about a year or two ago. So it's still a widely accepted test. So basically, you prove the film. And when you prove the film, the diameter is going smaller and smaller, and the film will break, right? And the second device that I would like to talk a little bit in the background is the so-called fork and cork test. This was not invented by me, although I'll be glad to take credit for it. This was quite a few years later. And we were passed by the marketing division of motion picture film. Some of our film, Kodak film, breaks in Kodak projectors. And of course, everybody blames Kodak. And the reason for that is because the photographic film, in fact, photographic processors didn't lubricate the film. It cost the penny or more just to lubricate the film. I mean, just an extra tank. And if the film is lubricated, it performs well. If it isn't lubricated, it breaks. And so the marketing organization wants to have a simple test that they can take to their users to show whether a film is lubricated or not lubricated. This assignment was given to a man who worked in my group named Jack Carroll, who was a very, very bright and innovative guy. And he put an end of a paperclip into a cork, balanced the cork with two forks, and then slid this contraption down a plane. And if the film was lubricated, the plane had to be at a very low angle, and it would slide. And if it wasn't lubricated, you would have a very high angle in the film, and this device wouldn't move at all. And so the test was called the cork and fork test. But eventually, a better model was made. Which is on this crane. And it made very, very inexpensively and was given out to a lot of the consumers, Kodak film. And so we were heroes as far as the marketing division was concerned. We didn't always remain heroes. Yeah, we will come to that. Actually, we even use this test, as you remember, to test magnetic tapes, right? That is correct. The more sticky, the anger needs to be greater. So the other paper was quite good. You are not the only one to think that. It's a paper you published in 1970. And so I would like, well, I can only will am actually in 2012. I saw that quarter here. He talked about a small graph on page four clearly showing what was possible to stabilize and to preserve dyes, color dye. Could you talk about that? This was around 1969 or so. This was in Calhoun, was technical assistant for the general manager of Kodak Park, which was a big job. And I had responsibility for his own lab. And the motion picture archivist from the National Archives came to Kodak and said, we would like a paper on just how stable our Kodak dyes, because there's a lot of information going around that was conflicting. And some people rated the stability of color by how it exposed at very high intense illumination. And very few people store their film on your high intensity illumination. And so the gentleman from the archives wanted a Kodak paper. So Calhoun called in Lloyd West, Dr. Lloyd West, Dr. Lauren Graham, and myself to prepare a paper. This was not anything that we had an option of doing. And I didn't know either of these gentlemen before. Their labs were about a mile from where my lab was. Kodak Park was a tremendously big place with hundreds of buildings. So it's not surprising that I didn't know them. And I never became, but I would call a close friend of either of these gentlemen. They were older than I, quite conservative. But we managed to get along rather well. And we wrote a particular paper. And Graham was an expert in motion picture film and knew all about making separation negatives and separation positives and how you got a final color print. Lloyd West had a color lab where he tested various dyes at different temperatures. And my responsibility was on the physical behavior of motion picture film. And the critical graph, which is right there on the screen, was showing how dye stability is very dependent upon the temperature. And that is the. Right. So the management was not happy, I understand, about the result, because of 70 Fahrenheit. After 10 years, the dye were faded, right? Well, yeah, this was. Well, we, backing up a little, the three of us debated a long time what we do with this information. And do we want to recommend to the consumer to store their film in a freezer? And this has been very, very conducive. If you want to go and look at your film to run down to the freezer to look at your film. But for big institutions, maybe it's a possibility. So we, in this paper, we gave several ways of doing it. We didn't recommend any. After the paper, and you mentioned that after the paper was written and the marketing organization looked at it, and they wanted to stop it. They didn't like the paper at all. Because what it indicated was that Kodak film fades, which most consumers knew. The marketing organization didn't want to admit to it. And Calhoun indicated the facts are facts, and they should be released. And the paper was released. Once the paper was published, Allen Goodridge, who was the chief archivist at the John F. Kennedy Library, which was just being built south of Boston at the time. And he said that's a good approach. And he instituted cold storage in the Kennedy Library, which was great. And once he set the pattern, then other institutions did the same thing, the National Archives, the Library of Congress, the National Geographic. And of course, the Hollywood studios went to cold storage because keeping their motion picture film is equinomatically advantageous, because they released these films over game. Fantasia, Wizard of Oz, these films were. Good was a win. Yeah. And so they were very happy to put in cold storage. And they were pleased with the work that was done. But the other thing that was new here is you had a test. And that's created a kind of competitive environment between all the companies. And as a result, also, the dye stability did improve somewhat because you couldn't measure this. So the next thing I would like to talk is the Polaroid Kodak lawsuit. Because in 1976, Kodak launched the Color Instant Product. And the same year, of course, Polaroid through Kodak. And you had to go and did your spiel and tell us about this. I don't think this is in the high point in my technical career. But it was an experience which I wouldn't want to do again. There's a little bit of history here. At one point, Kodak was a supplier to Polaroid materials. And the head of Polaroid was Dr. Edwin Land, who was not the easiest man in the world to deal with. And the head of Kodak was Dr. Lou Eilers, who also was not the easiest man to deal with. And the fact that the two of them didn't like each other was no surprise. And of course, it was never privy to their private conversations. But the net result was that Polaroid went elsewhere to make their components for their peel apart film. And then Polaroid came out with their peel apart color film. And Eilers, a Kodak, made a disastrous decision. He decided to go hand-in-hand in competition with the Polaroid product. And Polaroid had the field pretty well covered with patents. So the Kodak scientists worked very, very digitally. And for a very long time, getting around, we thought we got around, the Kodak patents. And then they came up with their own product, which I thought was pretty good. The manufacturing of it was just a marvel. The package is quite complicated. And you go in there, and there's only one or two people wanting a very, very complicated plant, because everything is done automatically. Anyways, Kodak came out with their product. And no sooner than they did, that Polaroid did Kodak. So is that true that you said to Dr. Land that on the matter of Polarist Air Base, he didn't know what he was talking about? Well, there was one patent that dealt with film support, which is appropriate for this particular conference. And that was the patent that Land had, which utilized polyester as the film support. And Kodak asked me to be the rebuttal to this particular patent. And there really were two reasons. One was that I was not involved in the establishment of this product, so they couldn't ask me questions about how we went about our work, because I just didn't know. And the other was because of my experience of film base. And our position was there were only two supports you could use, triacetate or polyester. And you do have a film wet during the photographic process. And you break a pod, and the chemicals come out, and eventually it dries. So it makes sense to use the base, which is water resistant, rather than triacetate, which is not. So if you only have two supports, and one is water resistant, one isn't, you don't have to be a genius to pick the right one. You were supposed to be not happy about that, right? Well, it was also very interesting to get a little aside that I attended the trial. It was in Boston. And the first day of the trial, Dr. Land came in. And this is all, there was no jury, it was just a judge. And the Polaroid attorney said to Land, could you tell us about the honors that you received? And Land was a world famous scientist and had many honors. So Land started to recite his honors. And the judge said, well, we have all this written down. Why do we have to go through it again? And the Polaroid attorney said, well, can we just ask Dr. Land one question? So the judge says, yes, go ahead. So he said, Dr. Land, tell me, which of the many honors you got is the one that you thought was the most important to you? Dr. Land, let's see how he looks down the floor. This was a terrible, terrible, difficult decision. The poor man made. You had too many.  So I put some picture here because you were not always working with your colleague. And this is about the fishing trip in Canada. This was quite a project. You produced those diary there. And unfortunately, we don't have to go into the detail, but everything was planned very, very, very well. Robert, now I'm getting away from science. We're coming back. We're coming back. So you spent 25 years working for the standout.  So you were a very important person in the standout organization. On this picture, there is a lot of names that everybody knows here. In the second row, over to the left is Klaus Hendricks. And over to the right is Peter. There's Henry Willem, there's Klaus, there's David Koper. You remember a lot, right? So this was apparently, it wasn't a shabby group. No. And that was 86. And so in 86, there is another event. There's another event. You retire from Kodak on Friday. And you start working at IPI the Monday, right? That is correct. Because you didn't want to go grocery shopping all the time, right? Well, I retired on a Friday. And I went to IPI on the Monday. Right. And that was the original team of IPI there. That was the total employment. Right. So you met Jim Riley. And of course, Jim had a vision. And you were really complimentary. And you had all this technical knowledge and background that you brought in the lab. And film studio became really the cornerstone of what IPI was doing. And that's just another paper that it was considered to be good by Peter. It was, can you talk about what is essential in this paper? Wow, there's a little background here, too. Do I have time for background? We have a few minutes. Go ahead. Bye. When I first went to work for IPI, all I wanted was a telephone and a desk to continue my standards work. And Jim thought it would be a good idea if I submitted an application, a grant application of the National Endowment for the Humanities to do a thorough study of the stability of the various film supports. That's NICRAe.state, butaree.state, proponate, as I was trying to ask, and polyester. And we got two major grants. And so that was the three major grants. And that work resulted in a half a dozen papers. And it was the most thorough study that had been done and still exists as the most thorough on the stability of the various film supports. And it also looked at the effect of cold storage and elevators. And the one way you predict how materials are going to last is if you heat them. And if you heat them, many of the reactions take place, which are going to take place over time. And that doesn't always work. We're very fortunate for film base and also for the color dyes, as we showed in the earlier slide, that you can use a high temperatures to predict behavior at lower temperatures. And of course that gave more credence to the use of cold storage, which came out in 1970 paper and not only improves dye stability, but improves the base. So the key here in this paper, in other words, all the work in physical property, testing, it was great, it was making sense, but it was not really the best indicator of decay for these kind of materials. Yes, and one of the things which came out of that study was when we incubated the film at the various temperatures then what do you measure? So we measured the strength of the material. We measured the toughness of the material. We measured the stiffness of the material. We measured its tear strength. We measured its fold. All these physical properties which are difficult to measure and also take time. And the other thing that we looked at was the acidity that was developed because when you degrade these polymers, several things happened. You can break up the polymer chain and that affects their physical properties, affects the strength of all the other properties which I mentioned, the toughness. And bingo, right? Bingo, all kinds of bus stop, right? But you also, the side chains, which were shown in some of the earlier slides we saw this morning, you break off acetyl groups which forms acidic acid or better known as vinegar. And so we found that a measure of the acidity was more precise than the measurement of the physical property. And so therefore, you could tell when material is starting to degrade whether because of the, as you well know, the acid which is produced. So this led to the development at IPI of their acid detector strip. These were pluse strips which exposed acid to turn yellow. So I don't know if you know that, but I looked and since the 2003, there is five million, five million of those strips that have been sold on the world. So that is at least five million item and it means way more collections that have benefited from that work. Yeah, Monique here and Dagny Chambourin, Jim Riley received an award from the... So, yeah. Monique is here, Monique Fisher, it's here. So, Peter, that's you, there's 40 years apart between those two pictures. So you're all pretty good. And it's not very long ago this picture. So Jim Riley will retire at the end of the year. So would you apply for the job? I would like, think about it. I've got a serious consideration and I've made a decision. I would, okay, I don't know what to say because you have been a mentor for everybody at IPI and outside. So it has been wonderful. Thank you for everything. And thank you, Sarah, also for being here, for here.


So it says, what is the shortest wavelength line in nanometers in the Paskin series, which is N2 equals 3 and N1 equals infinity for hydrogen. So what do we need to do? We need to remember the Riefer equation. We also remember. So it gives us the values for our N1 is infinity and N2 is 3. So let's just plug this stuff in here. So I'll show you how I like to plug it in. N2, so again this is what we were talking about before we turned the camera on, this is infinity. Of course we know that doesn't really make sense to say 1 over infinity squared, but if we think about our calculus or whatever, this limit goes to 0. If you have a question, I'll call it an instructor. So let's go ahead and simplify. So 1.097 times 10 to the 7 divided by 1 meter times 1 minus 0. These problems will just make it standard to go to 3 significantly. It's okay because it doesn't really give us, these aren't figures to energy levels, aren't they? In fact they give you an infinite number of significant figures if you think about it that way. So 1, 2, 3, 4, 5, 6, but that's per meter, right? And that is also 1 over wavelength, right? So that's not what we want, we want wavelength. So all we do is flip this thing over, okay? So how do we do that? We say 1 meter divided by 1.22 times 10 to the 6, so 1, 3.20 times 10 to the negative 7 meters, like that. But it says it wants it in nanometers, so can I erase this part of the board? Is that all right? Is it okay with that?  So do you guys remember how many nanometers are in a meter? And for the 9, right?  Okay, so did that make sense? Okay, so this one was a little harder because of that limit going to infinity. Are there any questions on this one? Again, it's mostly memorized, the equation memorized the constant.


وَأَقُولُوا فِي القُرْآنِ مَا جَاءَتْ بِهِ اَيَاتُوْهُ فَهُوَ الْكَارِيمُ الْمُنْزَالُوْ وَأَقُولُوا قَالَ اللَّهُ جَلَّ جَلَالُوْهُ وَالْمُصْطَافَ الْهَاديِ وَلَا أَتْ أَوْوَالُوْ الحمد لله رب العالمين والصلاة والسلام على أشرف الانبياء والمرسلين سيدنا ونبينا محمد وعلى آله وأصحابه والتابعين لهم بحسان إلى يوم الدين أما بعد إن شاء الله تعالى when now gonna go into the second part of the introduction to the Kitab Sunnah Abu Dawood we've already spoken about and we dealt with Imam Abu Dawood the author of the book and we spoke about him in two ways we spoke about him سيراته الشخصية وحياته العلمية we spoke about his personal life his upbringing his family whether he was married did he have children and etc we spoke about that and then we spoke about the second part which is Imam Abu Dawood how was he as a person in terms of knowledge and we dealt with that today insha'Allah we're gonna go into Kitab Sunnah Abu Dawood this book itself now we're gonna have an understanding of the book and the way that I plan to speak about the book is first of all define the book that's the first point التعريف with Sunnah Abu Dawood we need to define this book and understand what it is once we finish that insha'Allah and we deal with that we move on to the second part which is منهج الإمام أبي Dawood في سنانه الإمام أبي Dawood what is his methodology what is the path that he chose for himself to tread on for his book that is the second part that we will deal with I hope insha'Allah that I will be able to finish those two parts today so tomorrow we can start the Kitab straight away insha'Allah the chapter of fasting we can start it straight away if not then we might do the first part today I will do the first second part tomorrow let's start with the first part التعريف with سنانه الإمام أبي Dawood let's define this book the name of this book is called what سنانه الإمام أبي Dawood that's the name of the book so اسم الكتاب this book has become famous well known as what اسسنان it has that name اسسنان if you look at the cover of the book it says اسسنان الإمام أبي Dawood that's the name that it has الإمام أبي Dawood you know who he is so it says اسسنان الإمام أبي Dawood we know who إمام أبي Dawood is but what does the word سنان mean and what does سنان actually mean سنان is جمع السنة is the plural of what سنة so the word سنان is plural and the singular is what the singular is سنة and according to the جمهور العلمة according to the majority of the scholars it is ترادف الحديث it's equal to حديث the word سنة is equal to حديث this is according to what جمهور العلمة the majority of scholars but الإمام أبي Dawood doesn't mean that meaning the جمهور are talking about الإمام أبي Dawood he doesn't mean by the word اسسنان جمع السنة التي ترادف الحديث which is a synonym of حديث he doesn't mean that but what الإمام أبي Dawood means from it is اسسنان وهنا هي الحديث الأحكام it is meant by the أحديث الأحكام what is حديث الأحكام أحديث الأحكام are أحديث that only deal with فيخ إشوز they don't talk about heart softening they don't talk about فضائل الأعمال they don't talk about virtues of the Qur'an of virtue of the Ansar of virtues of the Muhajireen it doesn't talk about that it only deals with what أحديث الأحكام specifically أحديث pertaining to فيخ related matters and now this teaches us that the scholars who authored books their books were of different categories now for example if we look at صحيح البخاري written by who الإمام البخاري رحمه الله he is صحيح is it اسسنان صحيح البخاري it's called الجامع and الجامع means that it has within it many different chapters it has أحكام it has فضائل it has رقائق it has فضائل الأعمال it has قصص stories all of those are in بخاري بخاري's كتاب is a what it's a comprehensive book it has all of those أحديث in it لك الإمامة بدعود له he specialized in what or his book is specific to أحديث الأحكام an example of أحديث الأحكام is أمدت الأحكام these are small versions of what صحيح بدعود it's a smaller version أمدت الأحكام is أحديث الأحكام لكن رياضة الصالحين no رياضة الصالحين is not أحديث الأحكام رياضة الصالحين is فضائل الأعمال righteous deeds the virtues that are connected to doing this أكبروغر مرام does it talk about that ولا أمدت الأحكام لسنان أبي دعود and the likes of it وليدالك أكون to the scholars الإمامة ترميدي's كتاب is not called a sunan if we're looking at the right definition then it should be called سنان ترميدي what should it be called جامع ترميدي that's the correct and that's another that is another discussion so the author himself رحمه الله he gave this book this name and called it a sunan there's a book I told you we're going to come to later it's called أبي دعود أبي دعود is not like a lot of the scholars بخاري for instance he didn't describe his book he didn't talk about his book he didn't say my book is going to do this and it's going to have this and this is why I wrote this and this is why I placed this hadith here and this is what I met by this chapter and he didn't do that and Imam بخاري wrote his book and he left it so ابن حجر came and he read صحيح البخاري and he read it again and again and he understood this book so much he placed for it a description which he called it هدو ساري في شرح المقدمة صحيح البخاري oh he called it who does sari however way you want to call it so ابن حجر gives us the meaning of صحيح البخاري and we together brothers and it falls in the beginning of فتح الباري if you want to have an understanding of صحيح البخاري you would buy the فتح الباري and you read the مقدمة which is what هدو ساري and it will give you an extensive detailed understanding of صحيح البخاري of what صحيح البخاري الامام مسلم oh he spoke about his book الامام مسلم he spoke about his book and what he wanted from this book and why he placed it like this and why he laid it out like this الامام مسلم spoke about it so that's why he made a مقدمة صحيح صحيح he made an introduction for it where he discusses all of that same as with who الامام أبي داود أبي داود when he wrote his سنن some people from مكة a people from what a people from مكة they sent him a request a letter asking him to tell them about his سنن الامام أبي داود wrote what he wrote a letter describing his سنن and he called it or he called رسالة أبي داود إلى أهل مكة the letter of الامام أبي داود to the people of مكة في وصف سنن in describing his سنن in this letter of his he says فإنكم سألتم أذكور لكم الأحاديثة you have asked me who is he saying this to? the people of مكة he is saying to them فإنكم سألتم you guys have asked me أذكور لكم الأحاديثة you have asked me to tell you about the أحاديث التي في كتاب السنن that is inside the what as سنن so he called it what what did he call the book as سنن so he named it that name هي أحصح ما أعرفتم بالباب so he called it as سنن what is the موضوع of the كتاب what is this book deal with as I said to you موضوعه what it deals with it is about the حاديث الأحكام it talks about the حاديث of so he will start with كتاب الطهارة كتاب الصلاة الزكاة الصوم and then what الحج and then this is قسم العبادات as finished and then قسم المعاملات then that comes what then that comes next so he done it in what it is in a فق and it is specific to that and that is what he said and what he said to tell you that this book is based upon حاديث الأحكام the author himself said وإنما لم أصنف في كتاب السنن إلا الأحكام I have not written and I have not placed in this book in this سنن except حاديث الأحكام حاديث that are pertaining to فق rule related matters ولم أصنف كتب الزهد and I have also not placed what I have also not placed books that speak about زهد to be aesthetic to boycott this دنيا and to turn to hereafter وفضائل الأعمال and righteous deeds I haven't placed inside my سنن وغيرها and other than it فهذه الأربعة الآلافي والثماني مئة the four thousand and eight hundred أحاديث الأحكام كلها في الحكام all of them are in the حكام so he specifically tells us that is سنن it deals with what? what does it deal with? أحاديث الأحكام and the beauty about this book is it is considered as ألمام الخطابي رحمه الله mentioned that is the first book that was written in أحاديث الأحكام no one preceded him in this idea ألمام مبي داود was the first to write a Kitab in سن أحاديث الأحكام no one preceded him in that idea specific to that a book that only deals with أحاديث الأحكام he was the first to do that we all together brothers ولذلك ألمام الخطابي رحمه الله he says in this Kitab he says فأما السنن المحضة the only أحكام أحاديث فلم يقصد واحد منهم كانت أحاديث أحاديث أحاديث وستفاءها ويقصد كل أحاديث ولم يقدر على تلخيص واختصار مواضعها من أثناء تلك الأحاديث ومن أدلة سياقها على ما تفق لأبي داود وماذا؟ سمارها أحاديث أحاديث أحاديث أحاديث أحاديث أحاديث لا one did Allah give this ability to and no one did Allah سبحانه وتعالى allow for them to do it before ألمام أبي داود he was the first I also said ألمام الخطابيه he said وقد جمع أبي داود في كتابه من الأحاديث في أصول العلم وأمهات السنن وأحكام الفقه ما لا نعلم متقدما ما سبقه إلي ولا متأخيرا لحقه فيه he says ألمام أبي داود he compiled in his sunan أحاديث which we can call the fundamental ahadith and the ahadith which we can consider the ahadith which are the mothers أمهات السنن they were ahadiths which were mothers mothers meaning they were the most needed ahadiths وأحكام الفقه and he chose the most important ما لا نعلم we don't know ألمام الخطابيه he said متقدما ما سبقه إلي that no one preceded him in this ولا متأخيرا that we don't know anyone who came after him لحقه فيه that reached him in this no one reached him in this ألمام أبي داود كتابه is what it's called MISA read that like a brothers scholars they say anyone who memorizes سنة أبي داود and understands it is a faqi is that what is a true jurist if you do مداومة النظر meaning you consistently look at سنة أبي داود and you go over this book a lot and you do اعتكاف on it then truly you come out with what you truly come out with فق comprehension of jurist mood rulings that you would need at times of fatwa when you want to give verdict like ألمام أبي داود كتاب has this MISA it has this unique thing over the other books but don't think to yourself that the other books don't have things over أبي داود سنة he has that over the others but the others have over him other things as well like ألمام النسائي use كتاب after صحيحين بخارية مسلم they say the most authentic one is سنة النسائي ألمام أبي النسائي سنة is the most authentic after بخارية مسلم that's what they say so النسائي has more حديث which are صحيحة than what ألمام أبي داود and also سنة النسائي because it talks about it and it has true knowledge of مصطلح الحديث خريوية ودراية أم علم الحديث رواية ودراية that the person who wants to read سنة النسائي has to have what true knowledge of مصطلح الحديث the science of Hadith علل he didn't defect in the Hadith that person has to understand it because سنة النسائي the Hadith which are علل a lot of it that's just a it's me going on a topic the third point that we want to mention so how many points did we mention we first mentioned the first thing which was اسم الكتاب the name of the book we spoke about that then we spoke about the second one which is موضوع الكتاب what does this book deal with the third thing that we want to speak about is متا ألا فأبي داود when did he write this when did he put this book together متا when did he put it together what we can't do brothers is لا تمكن أن it is impossible on our site من الجزمي to narrow down and specify بتحديد زمان التعليف the time that he authored this book it's something that we can't do we can't do we can't say that الامام أبي داود vote it here this time but what we do know is الامام أبي داود he finished this book and he showed it to who الامام أحمد رحمه الله that we know الامام خطيم البرداد he mentions in his tarikh the ninth volume page 56 he says وقادمة بردادة الامام أبي داود came to Baghdad غير مره more than once وروا كتابه المصنف في السناني بها ونقله عنه أهلها الامام أبي داود he narrated his book in Baghdad and the people of Baghdad they took it from him ويقالوا it is said أنه صنف قديم that he authored this book آلي وعرضه and he presented it to who على أحمد ابن حنبل he presented it to who الامام أحمد ابن حنبل فاستجاده الامام أحمد loved it when he saw it ومعنى فاستجاده he saw it to be a good book an amazing book وستحسنه and he said this book is good الامام أبي داود الامام أحمد ابن رحمه الله so this shows us that he authored the book when he wrote it before الامام أبي الامام أحمد died الامام أحمد when did he die 241 هجرية الامام أحمد precisely died 200 and what 41 الامام أبي أحمد ابن حنبل رحمه الله this is when he died الامام أحمد died 241 هجرية so what is this show this shows us that الامام أبي داود gave it to who died the year how many 241 he gave it to him before then he gave it to them because الامام أبي داود حالا when did he die he died 200 and what 75 we mentioned it الامام أبي داود died 200 and what 70 75 so how many years would that be after الامام أحمد 34 years right there will be roughly 34 years after who الامام أحمد he lived on so of course what he did what did he do to the book he will organize it correct things that he thought were wrong he would put his head back bring it forward but the first time he wrote it was when that we can say is before الامام أحمد's death which was 241 so we can't specifically narrow it down to a particular time in which he wrote it all that we can say is that he wrote his before the death of who الامام أحمد and الامام أبي داود don't ever think to yourself that he what he just wrote it and he showed it الامام أحمد and that's where he left it that's not the way of the scholars if you look at the works that the scholars write you always find let's take على سبيل التمثيل للحص as an example الامام محمد ناصر الدين الالباني رحمه الله الامام الالباني رحمه الله you find he wrote a book and then he in the beginning of the book you find طبعة الثانية second publication and you find طبعة الثالثة on the same book and sometimes it reaches طبعة العاشرة sometimes it even passes that because while the author is alive his knowledge is enhancing his understanding is increasing and so what does he do he says if I only put this one back and I put this one forward it would be better are we together brothers and this shows us that completeness is only for what and errorless is only for the book of Allah the Quran is the only thing that doesn't require any of that and he doesn't need any of he doesn't need any of any of that because the Quran is as Allah said in the Quran لا يأتيه الباطل لا يأتيه الباطل من بين يديه ولا من خلفه تنزيل من حكيم من حميد صح the Quran is what باطل and falsehood does not come to it from the front from the back nowhere it's from who Allah تعالى أفلا يتدبرون القرآن ولو كان من عند غير الله لو جدوا فيه اختلافا كثيرا if the Quran was to come from who من غيري من عند غير الله if it was to come from other than Allah لو جدوا فيه اختلافا كثيرا you would find contradictions in it so all of the scholars when they wrote books they always looked at it and they said I wish I just changed this why don't I take this out maybe this wasn't necessary for me to say maybe I shouldn't have used this term maybe maybe maybe and correction comes from that so when Imam Abu Dawud what he was doing was ترتيبا وإقراعا he was reading this book he was organizing this book for the many years after Imam Ahmed رحمه الله تعالى until Radha his death he was doing that when he got later when we speak about the narrator who narrated from the book you see at the beginning of the book it says سنان الإمامي أبي دود سنماني بن الأشعة السيجستاني المتوفة سنة يتبقى أنه موت ثم يقول رواية اللوء مقارنة برواية ابن داسة ويرها ضبطة وحقق على ثمانة عشر نسقة خطية هذا يبدو تأصيل فهي يقول رواية اللوء أين اللوء مقارنة كمبادة برواية ابن داسة أين ابن داسة هذه سيأتي لم نكون مثل الذي نحمل التورات وما لم يحملوها كمثل الحماري يحملوا أسفارات وكارنة بوك لا نفهم ما يحدث ماذا يقول؟ who's this person? who's Louie? هذه are people إن شاء الله we're going to talk about other narrators of سنة أبي دود they narrated it from him anyone who wants to take an إجازة on سنة أبي دود he's going to go through these narrators because they're the ones who took this كتاب from أبي دود but they're different why is Louie different from ابن داسة who from amongst them has received عرضة الأخيرة the last presentation of إلمام أبي دود because I just said ألمام أبي دود what was he doing he was changing the book he was pulling things forward and things backwards he was rectifying and changing things that he believed needed to be rectified so there is a person who takes عرضة الأخيرة صحيح doesn't the Quran does it not have عرضة أخيرة the last presentation of the Quran which companion took it from the Prophet عرضة الأخيرة yeah زي دي بلتاب did he not take عرضة أخيرة so we're going to see that إن شاء الله so ألمام أبي دود was doing that the fourth point that we're going to now go into إن شاء الله is تجزئة الكتاب breaking down sisters if you can be quiet إن شاء الله بارك الله فيكم sisters if you can تجزئة الكتاب when now going to break the what we're going to break down the بوك إن شاء الله إن شاء الله إن ألمام ببي داود mentions in his رسالته إلى أهلي مكة how many books are inside the سنن in each كتاب you see it as a book inside it كتاب الطهارة كتاب الصلاة كتاب الزكات كتاب الصوم كتاب العج how many كتاب does this يزبوك have the books سلن أبي داود اتين بوكس كمان بوكس؟ اتين بوكس كمان عدد؟ كمان عدد كتب في سلن أبي داود؟ اتين وإن شاء الله تعالى اريد من all of you إذا كنت تستطيع التأسيل هذا الكتب هذا الكتب هو the best copy of سلن أبي داود سأتحدث عن why this is the best copy عندما تتحدث عن طبعات الكتاب حسناً قد تلقي بردوه طبعات الكتاب ومكتب تلقي بردوه ومقابل أبي داود سنن اول احدها تكتب وإنها تكتب ومثلت وما يثمت وما يتكتب وما يتكتب كانوا يثمت سنة سنة سنة كانت هذه المرة the first time وما يتكتب كانتها تتكتب كانت هاتف كانت هذه المرة كانتها اول مرة now insha'Allah we are going to mention the earliest of those copies was Taba'a to Delhi the Taba'a that was done in India New Delhi right now when the year was 1200 and what? 71 until 1272 it was been worked on okay meaning they first published again and the second time they published it was the year after again and then they published the year sorry 10 years later after that they published it again this was no one preceded India in publishing Sir Abidawood and New Delhi was the first place that they published and this is a very common thing that you're going to see then when you look at Taba'a to Kutub the people who preceded people in it especially Kutub Al-Hadith is who? India is the early place in which it was published then after that Tuba'a في القاهرة قاهرة it got published which is called the Taba'a to Al-Qasitiliya Taba'a to Al-Qasitiliya I think the scene goes before the top before the scene I'm not sure but it's called Taba'a to Al-Qasitiliya this was the publication that Egypt came out with and the year that it was done was 1280 and it was done in two volumes في مجلديني two volumes it was done in and then again after that it got published again in India when the year was 1305 now India because they published it first they don't want to publish it just like normal self so what they did this year was that they published it with the تعليقات of الإمام الخطابي ورحمه الله on the Hawamish again they brought out the first تعليق on the book and then it got published in قاهرة again with the side note of the شرحة of زرقاني and the Muattah of Mamalik they placed it on the bottom when the year was 1310 and then it got published in لكنو again لكنو which is in what in India again they published it again and the publication was best better than all of the publications before that and at the bottom they placed the شرحة of الإمام الخطابي on the عون العدود شرحه سنة أبي داود by أبي الحسنات they placed his on it which was two volumes and then the sixth year the sixth time was the طابعة in حيد رباد حيد رباد داكن with دار المعارف العثمانية they published it in the year 1391 and they published again 1393 the best publication of the كتاب then it was the طابعة which is the طابعة الحجرية طابع حجرية is the best which was done in India طابعة الحجرية it was called and it was published in India and the year was 1323 this is the best publication and it was done in four volumes very big thick if you go to India right now جامع سلفية بنارس they have it and they also have it in حيد رباد داكن دار المعارف العثمانية they have this publication وهي أدود طابعات it's the best طابعات in terms of in terms of the what the metin and the hadiths and دار التأصيل which is the one I have with me they reused it they applied it so they use this one the second one is the second publication which is very good is the طابعة of شيخ محمد محيدين عبد الحميد محمد محيدين عبد الحميد was one of the greatest محققين and he also has a shalha on what اجرومية سكو تحفت السنية في شلح المقدمة الاجرومية he has a shalha on it he also is a great محقق يدن تحقيقات of many books so he done the تحقيق of سنة أبي داود there's also another one which is the تحقيق of الشيخ محمد عواما which is five volumes it's out the sixth volume is just a phaharis the sixth volume is what is a phaharis meaning it's a content page and what I did was in حرم المدني in the prophet's masjid I took سنة أبي داودة تأصيل and I took the طبع of محمد عواما and I realized that ألمام أبي داود سنان that the تحقيق of محمد عواما he played with it any hadith that go against where he believes he takes it out against his معتقد and what he believes so I wouldn't advise anybody to buy it the طبع that was published by محمد عواما the five volume one that I saw it's best that one does not waste his money and his time on it لأنه فيه سقطات in it there's many things that he took out and I've written it on the غلاف of my سنة أبي داود on the front page of it because he played with it and I didn't just compare it with the سنة أبي داودة تأصيل I compared it with the other طبعات that we had and the طبعات that were published we compared that with it even محتبة المعارف الرياض we compared it with that one as well but we realized that there's so many things that he has dropped now I want to go into the روات who narrated سنة أبي داود I defined سنة أبي داود's كتاب the first point that I was going to do was what تعريف بسنة أبي داود I'm still in the first chapter by the way first unit which is التعريف بسنة أبي داود we defined the book how did we define the book we spoke about اسم الكتاب the name of the book we spoke about موضوع الكتاب what the book deals with we spoke about when did the author write the book we also talked about تجزئة الكتاب how did he break it down the fifth thing that we spoke about is تطبعات الكتاب the publication that the book went through those are five points that we mentioned we're now going to go into روات سنة أبي داود who are the narrators who narrated سنة أبي داود the narrators who narrated from أبي داود I'm under what who narrated from أبي داود أجماعة كثيرول there are many people in number they're large we can't narrate down to a number as I said in Baghdad many people heard it from him okay لكن الذين اشتهروا but the people who became famous بروايته عنه they became famous from narrating from him with أسانين which are متصلة the chain that they narrated سنة أبي داود is connected are five there are five people the first one of them is أبو عالي محمد أحمد أمر للولوئي البصريو with idea 300 and 333 it's the one you have on the beginning of the book برواية اللولوئي أبو عالي محمد أحمد عمر البصريو الامام الذهبي when he spoke about him he said in his مصير على منه بلاده 15 volume page 207 he said الامام المحدث الصدوق الامام المحدث الصدوق the truthful one so he is talking about who الامام أبو عالي محمد أحمد عمر للولوئي he is trustworthy person and the رواية اللولوئي of الامام أبي داود he is the most authentic chain of narration it's the most authentic narrated why لأنها من آخر ما أملأ با داود أبو داود لأنها because the reason is because it is من آخر it's the last ما أملأ با أبو داود it's the last thing that الامام أبي داود dictated so this is the اللولوئي is what is عرضة الأخيرة meaning it's the last presentation الامام أبي داود the last person who أبو داود is الامام أبي داود as I said he how many times he read this book many times he dictated it how many times وقدسمع صنن and he had the الامام اللولوئي مرات عديدة many times اللولوئي had this many times and the last time that he heard it from him when the year was what 275 وانت لأ الامام أبي داود died he heard it from him in the year الامام أبي داود died he heard it from him in the year that الامام أبي داود died سنة التي توفي فيها أبي داود this is what ابنه نقطة mentions in this كتاب التقيد لمعرفة سنة والمسانيد أنا السيوطي brings it in this كتاب البحر الذي زغر that the Imam that it said that كان أبو علي اللولوئي قد قرأ هذا الكتاب على أبي داود 20 سنة he read this book on him وكان يسمع وراقه he was actually called the scriber he was the one who read it on him and he was the one who wrote and took it for him و لكن هو القاري كل قومي نسمع منه و الامام أبي داود who was the one who used to read on him the sunan that whenever an Imam would read this book he would be the one who would read it for him who was it? علماء هدي they had people who read for them اللولوئي was the one who used to read for him قار الشيخ ولي يدين أبو زرعة الرازي sorry الشيخ الولي يدين أبو زرعة العراقي الامام زينا الدين العراقي السن you know زينا الدين العراقي right? زينا الدين العراقي the one who wrote it ألفية العراقي yeah he has a son زينا الدين العراقي is what? he is the teacher of him زينا الدين العراقي is the teacher of him he is son he son is who? ولي يدين أبو زرعة العراقي he said وقد سميعه اللولوئي من أمي داود سنة وفاتي اللولوئي had this book from ألمام أمي داود سنة وفاتي وهي سنة خمسين وسبعين ومائتين and this was when 200 and what? 275 فينبغ أن يكون على روايتيه so in terms of implementation سنة عبي داود should be implemented based on who? based on رواية اللولوئي because it's the last this is what عبي داود wanted he's got the authentic the last version so that's why داود تأصيل said رواية اللولوئي مقارنة برواية ابن داسة and why did they compare ابن داسة with it we'll see why so when you open داود تأصيل داود تأصيل when you open it and you read the top top part of the حديث what is the رواية on the top the رواية اللولوئي at the bottom if there's differences which one is he going to mention for you رواية ابن داسة so say ابن داسة's رواية goes against what are you based on this word it stays this word instead of this word are we all together brothers that's how you know when you're using the book so when you're a dean العراقي you the son of zeynudin he mentioned something very powerful he said ينبغي أن يكون العمل على رواية that the رواية اللولوئي should be what we implement or it should be what we rely on not at the other it's very important and it's a point that you should under that you should underline who narrated from who took from who took from القاسم ابن جعفر ابن عبد الواحد الهاشيمي ابو عمر البصري who died here 322 322 or he was born 322 and he died here 414 and he's from what do you fear ابو عمر البصري القاسم ابن جعفر ابن عبد الواحد الهاشيمي ابو عمر البصري he's the teacher of خطيب البغداني خطيب البغداني و لذلك خطيب البغداني وسربهم كان ثقة أمينا ولي القضاء he said he was a trustworthy honest person ولي القضاء بالبصلة وقفنا وسمعت منه بيها سنة أبدوود and i heard from him خطيب البغداني like i took it from him so who took from ابن عبد الواحد الهاشيمي ابو عمر البصري who took from him ألمام who took from him i just told it to you خطيب البغداني who took from him who took from him ابو عمر البصري who took from him ألمام خطيب البغداني ألمام خطيب البغداني he did a 463 he did a 463 و هو أمام معروف ألمام خطيب البغداني and the story of ألمام الخطيب البغداني هو التي اعتمدت and it is that رواية that became النسخة which is الشائع it became the copy which spread and it became the النسخة which was معتمد it was relied on by the scholars this is what they relied on the story of ألمام الخطيب البغداني you are going to have to go through who ألمام الخطيب البغداني another benefit that we take ألمام السخاوي و رحمه الله سخاوي is who brothers so we have the student of him now شمس الدينة السخاوي و رحمه الله he is the what he is the share of الفية العلاقي he explained it he called it فتع المغيث في شرحي الفية الحديث صحيح he is the one ألمام السخاوي و رحمه الله he said لم ينفرد الخطيب عن الهاشمي اذا الخطيب البغداني you is not the only person who narrated from Al-Hashimi who is Al-Hashimi? أبو عمر البقصر you he is not the only person who narrated from him بل هو أيضا عندنا من طريق أبي عليت to study أبو عليت to study he is also another person who narrated from him who died a year four hundred and seventy-nine هجرية he also narrated from who الهاشمي و رحمه الله if you want his tarjama in details is given in the kitab سر علي من بلاء the 80th volume also أبي منصور يشكورية they all narrated from him if you now take the story of خطيب البغداني who narrated from Al-Hashimi and the story of أبو علي to study even though they all narrated from who الهاشمي و الهاشمي narrated from who and this difference خطيب البغداني has a slight difference to the copy of who أبو علي to study even though they all narrated from who they all narrated from الإمام القاسم من الجعفر ابن عبد الواحد الهاشمي و رحمه الله تعالى as we said brothers is the most famous the most well-known و لذلك when they say unrestrictedly they always mean the if you say I studied Sunnah Abu Dawood just like that you're referring to which one the story of إذا أطلق if it's unrestrictedly said it goes back to but if it's the other that you narrate that you studied a copy you have to say you have to mention the the person you heard it from if you go to India for example in India is what's dependent on بلادو حجاز من الأرب of course but rather the majority of the lands when you use the word سنة أبي داوود it is بريواية بريواية اللوئيو it's the rewire of his ابن رسلان who I have today the great شافع عسكولا شهاب الديم ابن رسلان رحمه الله تعالى و دايده 844 رحمه الله he has a shanaah and is a great chef he is Tabaa I just recently came out roughly 2-3 3 years ago or 4 years ago what year are you in? 2018 right? so it came out 2015 how much is that? 3 years so this copy is out only for 3 years many of the scholars they used to bring out this شراح of ابن رسلان through a واصطة through a means meaning somebody else copied it from his copy they would narrate it from there like for example some people never saw it because it wasn't published it wasn't brought out and this copy has a meesa we will speak about that later when we speak about the شراح and the reason why we chose to rely on this because the majority of the people here are شراح the majority of the people here are شراح are you guys شراح right? are you guys شراح right? so we will rely on the شراح of ابن رسلان due to the fact that he is being شراح and of course if we disagree with him and the مسائل we will mention it insha'Allah so that's the شراح ابن رسلان relied on حافظ العراقي and he also relied on it because he has a kitab he relied on رواية اللوئيه سيوطي he relied on اللوئيه is a Rewaya زي لعي نصب الراية مشكات المصابيح بلغ المرام if you go to the kitab المنطقة جامع الأصول بلغ المرام بيبن حجر المنطقة by Abu al-Barakat مجددين ابن تيميا جامع الأصول بقى إبن أثير if you go to the bulug المرام if you go to the kitab أربعين النوية رياض الصالحين when they say رواية اللوئيه that's what they mean they are relying on which one الرواية اللوئيه that's what it is even تهديب الكمال بقى بالحجاج المزيو this is what it is it relies on إبن أساكين has a kitab called الإشراف على معرفة الأطلاف where he talks about the أطلاف of the Ahadiths he brings the what I'm trying to say is إن رواية اللوئي من أصحر روايات والله علم the most authentic that is there that the scholars rely on is the and then of course your understanding of the book and sometimes the other روايات they can be for you like a sharah it can if you take the other wordings that he used and you compare it it can explain to you what he meant by this are we together brothers but the backbone and the one that you rely on is the رواية اللوئيه إن شاء الله و تعالى we will leave it tomorrow سنة أبي داود anything which I have said that was wrong or incorrect is from me a shaitan because Allah and his messenger are free from it سبحانك اللهم بحمدك أشد ولا إله إلا الله أستغفرك وأتوب إلي


and I said I wanted to run into Target to see if they had something. It was these. So they used to sell a set of these watercolor gel crayons. I don't remember if there were six or eight colors, to be honest. They were pretty cheap, $2.99 or $3.99. I honestly used to buy the set, pull all the black ones out and donate the rest. I love the black. The other colors were fine, but I love the black. I'm down to, I think I have three. I think one's in my travel bag, one's here and I think there's one downstairs. That's all I have. At some point, I'm going to end up using them all up. So I was wondering if what I thought was true and they don't make them anymore. They don't have them on the website. They don't have them in the store. So if you see these out somewhere, I'll buy them for me. I don't care if there's the whole box. I just want the black, but yeah. But anyways, so I was trying some experiments with comparing that with the black distress crayon, which I also have. And then one of these, which there's a lot of different brands of these. There's a recollection makes these. I think maybe Helix makes, they're all shaped the same. They just have different labeling on the handle. This is a black one of those. And they all seem to be the same kind of crayon and pigmented the same. So I have a bunch of different brands, but this is the only black one I have fun fact. And this just says gel crayon. It says, it says something on there, but I can't read it because I don't have my reading glasses on. Can you read that? Probably not. Maybe my glasses because I don't know. You know, fun times. Okay, let's see. Glasses. Helps if I have glasses and light. Let's see. Debbie Lynn, Inc. That's what it says. Copyright 2016, Debbie Lynn, Inc. So I don't know who that is and I don't know what set these came from, but there you go. So I did some experiments with all three of the ones I have that are black and sort of a watercolor gel crayon thing, which I really like to play with. And I could use other things in its place, but I particularly like the gel crayon. This one in particular. I did three little drawings comparing each one of them. I did the drawings the same way with the same combination of pens and markers to see if I liked, if I could get the same sort of effect and be happy with one of the other crayons. They're okay, but it's up and up brand, so it's a target brand. So I don't know who manufactured them. And they're definitely, you know, a different shape than this one. They're not exactly the same. I don't think is this one either. And the pigment's definitely not the same. So that's the point. If you have a black water soluble gel crayon that you like, that's well pigmented and that some of the drawings I've been doing lately, like my lady here, some of the shading is done with that crayon and I'll insert a couple more pictures up here somewhere. Anyway, the shading is done with that watercolor gel crayon. And I love the way it turns out. It's easy to use. The problem with the distressed one is it dries too fast before you can get water in there. Once it dries, it is permanent and it doesn't move around, which is great. I mean, you can go on top of it. However, you have to get in there super quick with this. And then this one is very water soluble. It doesn't dry down. It's not permanent. Neither is the target one. If you get it wet again, it will re-wet. But it's just patchy and it's not as pigmented as the target one. So if you have a favorite black watercolor gel crayon, let me know what it is down below, leave me a comment. And if you have a link, that would be great. So because yeah, that's a thing. I'm looking for more of these, but I can't find them.


prettiness president of this august body prime minister of the UAE and ruler of the Emirates of Dubai Sheikh Mohammed bin Rashid Al Muktam, directors of various ITU, bureaus, your excellencies, colleague ministers of ICT from ICTU Member States, council members and experts from various industries, distinguished guests, Ladies and gentlemen, I bring you fraternal greetings and goodwill messages from His Excellency, the President of the Republic of Sierra Leone, Brigadier Gilius Madawio, the government and the people of Sierra Leone. Please allow me to personally express my gratitude to His Highness and the people of the Emirates of Dubai for their warm hospitality accorded me and my delegation since our arrival here a few days ago. I also wish to commend the ITU for the choice of this year's theme Work as one to advance the power of tech for good. A topic that could not have been more relevant especially at such a time when ICT has become an integral part of our modern life affecting various aspects of our day-to-day activities empowering people and communities. For us as a new government and a thriving nation it is an opportune time to make new contacts and discuss problems of mutual interest with delegates from member countries present here today. Your Highness, distinguished ladies and gentlemen, in the past, diamonds, gold and other natural resources were used to determine our economic future. But today we live in a digital world that is powered by broadband whether it is fiber optic cables, digital subscriber lines in our homes or pocket devices in our pockets. We recognise the development opportunities and challenges of this emerging world powered by innovative tools of ICT. Our administration in the new direction agenda is adopting a paradigm shift in strategy to enhance socio-economic development. Thus the key priority of the new direction is to take advantage of our country's youthful population to drive maximum benefit from the demographic dividend. Hence the focus is on human capital development which will provide opportunities for citizens to realise their innate potentials. The strategy is to accomplish this. The strategy to accomplish this is to leapfrog development from the current structural imbalance to service sectors through ICT. It is therefore our vision to leverage on its innovative powers to transform other sectors of our economy to push our national development agenda forward. Your Highness, ladies and gentlemen, the new administration is fulfilling one of its campaign promises recently launched one of the most ambitious programme since independence, the free, quality, basic and secondary education. The launch of this phenomenal programme has seen increased access to education from primary, primary and secondary levels. Government uploads this move but equally committed to quality. This has created huge demands on access side and raised issues of quality. We therefore recognise the key role that ICT can play in widening access to education to a greater section of a population for facilitating quality educational delivery and training at all levels. The government has acknowledged the need for ICT training for education in schools, colleges and universities and the improvement of the educational system as a whole. Proficiency in ICT skills is still relatively low in Sierra Leone every among ICT professionals and the general populace. This translates to skills gap that entones signals on top benefits that ICT could potentially deliver to Sierra Leone socio-economic development. Therefore, continued strengthening of ICT human capital is the highest priority. The creation of directorate of science, technology and innovation is an expression of President Bill's personal commitment towards enhancing human capital development and to create the enabling environment for innovation and entrepreneurship. Your Highness, distinguished ladies and gentlemen, you will agree with me that the growth and development of the ICT sector requires a stable and predictable policy, legal and regulatory environment that ensures a competitive environment for the development and provision of ICT services such as broadband. My ministry, which is charged with all ICT and telecoms related activities, is in the process of reviewing the national ICT policy to create an all-inclusive policy framework for Sierra Leone's participation in the global digital economy. This policy will also put in place appropriate institutional regulatory and legal frameworks that should effectively support successful deployment and utilization of ICT in all sectors of the economy. To ensure a stable ICT sector, my ministry in partnership with sector players is currently reviewing the existing 2006 National Telecommunications Act to speak to emerging trends in the sector such as privacy and data protection, cyber security, electronic transactions, infrastructure sharing, numbering system amongst others. Our government will welcome any meaningful support towards those critical areas. Your Highness, distinguished ladies and gentlemen, Sierra Leone has experienced a gradual uptake of ICT services through a combination of GSM and CDMA operators. As of 2017, mobile penetration has increased from 62% in 2013 to 73.4% in 2020 currently. Moreover, the internet penetration has increased from a decimal 6% in 2013 to 20% as I currently speak. Within this same time, it can be emphasized that there is some amount of coverage in all chiefdoms of the country for basic telephony services. 3G mobile data coverage is limited to the capital city. The four other urban settlements of Bo, Kenema, Makenia and Coendul with portal availability in some parts of the 12 district health quarter towns. The gradual increase can be attributed to the landing of the Africa Coast to Europe, Submarine Fiber Cable and investment in terrestrial fiber backbone spanning about 60% of population centers. Your Highness, distinguished ladies and gentlemen, permit me to note that even with the significant strides and efforts towards transforming the ICT sector, there are still challenges in dealing with the high cost and poor quality of ICT telecom services as well as connecting the remaining unconnected areas. There is also the issue of national fiber backbone passing through only some of our major district health quarter towns within access networks to provide the last mile solution to serve, unserve, enrich and under-serve communities. There is also no district metro fiber ring to improve the case of access to ICT telecom services by the citizens as part of Sierra Leone's evolution to a digital economy, which is why as a government we are strategically engaging partners in the following areas. Completing the terrestrial backbone and rebuilding other appropriate ICT infrastructures such as design and roll out of a national metro fiber ring for our major cities to improve access to ICT telecom services, design and implement national data center, cloud computing to host all government critical data, extend government common wide area data network to local councils and remaining districts. Adoption of suitable and cost effective solutions for rural connectivity. Design and roll out of a national digital terrestrial platform for digital broadcasting in fulfilment of our ITU obligations for analog to digital migration. The implementation of these projects would deliver a long term contribution such as minimizing the cost of access to ICT services and hence widening the geographic scope of access to ICT telecom services. Create new ICT related small medium enterprises deep in regional and national socio-economic integration and support overall economic growth and development. Your Highness, ladies and gentlemen, as I conclude, allow me to express our profound gratitude to the border management of ITU for its continued support to Sierra Leone in the areas of capacity building and other related areas. We are especially thankful of the recent support in reviewing our cyber security capabilities to the Oxford management team. Our government is fully committed to work with the ITU and has played to meet all our obligations to this August body. I also want to take this opportunity to explore all present here to take advantage of this forum to increase our knowledge, exchange views and seek partnerships that can improve our individual models for the implementation of our collective goals in our respective countries. As we discuss the development and roll out of ICT services in our respective countries, let us also not lose sight of the emerging challenges it has brought on us, especially those arising from cyber security. This is the biggest threat to our national security, ranging from use of suitable mobile phones to organize crime or using the internet to coordinate terrorist activities amongst others. We pledge our unwavering commitment in working with our partners in fighting these crimes. I also, on behalf of the government and people of Sierra Leone, join my colleagues and other speakers before me to congratulate all of the elected officials today either those being elected for the very first time or those who have won re-elections. I like to use this opportunity to pledge Sierra Leone's unflinching support and commitment to supporting the cause of the ITU to bridge the digital divide at all times. I am particularly heartened by the walls of assurance of Secretary General Zau to ensure that the Africa agenda will remain mainstreamed. I take comfort in that and on that note I thank you all for your attention. Thank you.


Hi, today is about the Berry Boys, the little project that could. In 1998, Te Papa required over three and a half thousand glass plate negatives from the Berry & Co photography studio in Wellington. Amongst the collection were 195 portraits of First World War soldiers and their families. The only clue to their identity being an unscribed surname, often misspelt, and their uniform insignia. In 2002, in the lead-up to the First World War centenary, a research project was proposed to identify the soldiers. It was thought that perhaps twenty or so could be identified and their war experience has researched. As the possibility of an exhibition or a box had been flatly tuned down by the organisation, our aim was simply to enhance collection documentation in order to make the photographs more publicly accessible. We decided to run the project for around four months initially and then to reassess it and see where we're at. By the end of April 2015, the project had given, this modest research project, had given rise to the following. A full episode of Sunday television programme on TV1, a television documentary, a book, a small exhibition, a poster campaign, and two outdoor projects facilitated by the Wellington City Council by the projection projects. And the Berry Boys also came to adorn the New Zealand Defence Forces building at the corner of Buckle and Taranaki Street. The images have also appeared in many projects that we have had nothing to do with. And today we only have 35 soldiers left to identify. So a little of this was planned, so how did it happen and what have we learnt? Firstly, good decisions were made regarding the digitisation of the collection at the very beginning. The collection was scanned to Preservation Master Standard, the Zoom capacity tested, and this was the foundation of the whole project. The group was a really good size compared to, say, 5,000 portraits. IDing 195 images seemed doable, not just to us, but also the public. And we've certainly learnt that a small focus project can have immense impact. We decided not to go to Lone, but to try crowdsourcing for the first time. And as we didn't have a budget, we worked with what we had, our collections online, social media platforms and free platforms. And we went to where we thought the interested people would be. As well as collections online, we uploaded the images to Flickr alongside a similar plea for help from the Imperial War Museum. We thought Flickr's comments field would be useful. It was something we didn't have. Although, in the end, collections online proved to be the most popular place. We also placed articles in traditional media, read by the generation we were hoping to reach, such as Memories in New Zealand Geographic, which directed them to the web pages. And we asked relevant organisations, such as the RSA, to let their members know about the project. And then it was interesting that where the community took the project, one of the most interesting places it ended up was actually on Trade Meas Community Notice Board, and that's where we had one of the highest number of redirections to our site from. During the project, we discovered the power of the Te Papa blog. In 2011, blogging was very much an optional activity for many curators at Te Papa and was often seen as a sort of a fun thing to do rather than real work. And through this project, we learnt that the media was watching it and the blog actually had more communicating power than any official press release. A newly blog post inspired stories of the Dominion Post in Radio New Zealand, which in turn created large bikes and acquisitors to collections online, saw genealogists volunteer their services, resulted in many possible identifications and created interest from production shed TV, who brokered the TVNZ Sunday piece and went on to make the documentary. It also created ongoing interest from the DOM post in Radio New Zealand. Now in 2015, we have a blog schedule and annual KPIs. We came to understand the new media ecosystem and how to maximise it. Due to the age of our target audience, TV, radio and newspaper still proved to be the most powerful mode of communication, but digitisation of all these genres, however, meant that the articles were also placed online to be re-watched, re-read and shared and this is how we came to meet the Bury family in Australia. We managed through this process to do a lot of sharing and a lot of planting of material. Crowd control. Responses from radio and newspaper coverage taught us to be well prepared by the time television stepped into the project. It also enabled us to validate additional investment by the stage. So when the TV, Sunday TV programme aired, we had a hotline, a Bury Boys email address and a dedicated web page which provided a single focus on the Bury portraits linked to TVNZ's website. This project at this stage became heavy in people contact. People wanted to talk and to tell their stories and by this stage we had a staff member on the project 80% of the time and again we were able to validate this to management because of the project's track record of engagement. And of course the timing was right. The project naturally maximised the heightened interest in World War One and capitalised on digitisation projects across the Glam sector and we're particularly grateful to New Zealand archives for digitising their service records. So we love your scanners. And unturned on all our documentation, we included links to service records of War Graves Commission and Senator so we could send our audience on greater journeys. What we have found this year amongst the fervour of World War One activity is that people searching for their relatives online are finding them on collections online. So we have come back to our initial circle and we've achieved our initial goal of increased accessibility. We've also enhanced collections online over the course of the project. In June 2014 Papa made 30,000 images downloadable for free in the highest resolution we have and this has enabled people like Doug here to download our Bury images without any involvement from ourselves and it's seen a good take up. But we've also learnt that accessibility is nothing without telling people about it. We've found that we've had to be very vocal about telling people about what we're doing, what we have and that they can use it for even though we've got that message about free to download on our site people don't always read it or believe it. And we've also got to the stage with the Bury boys being so popular we've had to remind people that there are actually other soldier portraits in the country, not just them. We've learnt very much that a small, lean, agile team can often outperform large complex teams and we generally work in a very large complex team here at Papa. And two of the four principles of the agile manifesto were evidence in this project, firstly responding to change over following a plan and individuals and interactions over processes. I think we thought this was common sense until we were told it was agile within A. So what next? I think following the Bury boys success we are now focusing on another group of portraits, 19 portraits of Chinese New Zealanders. Again it's a manageable group and we're applying what we've learnt. We started modestly with a narrative and a group on collections online and an email address. We're proactively seeding the project amongst New Zealand Chinese research and community networks both in person and through the many existing digital networks. Our timing is good, it's the 150th anniversary of the arrival of the first Chinese businessman in New Zealand but it's still a year that's witnessed an outpouring of racism against Chinese New Zealanders and there was a heightened interest in the history of Chinese New Zealanders and their contribution to our society. And we're capitalising again on digitisation we've carried out amongst the Glam sector in particular the Turnbull in New Zealand archives who've been committed to digitising records relating to Chinese immigration. And within the first week of this project going live we've already received about eight identifications and leads but in summary I think the success of these two projects while digitisation not just across the Glam sector but also the media sector has made these two projects possible or at least their speed it's enabled connectivity across time, geography and media but as we've been hearing continually today they have been really powered by human empathy and a desire to share community memories.


FNN, the Tiger Financial News Network, TFNN, headline news update. Good morning, everyone, Basil Joppin here. This is the Tiger Financial News Network, 10 a.m. market update. Of course, we followed the 9 o'clock show, Market Kickoff with Tommy O'Brien. We're looking at the Dow up 170 at 30,604. Nice action in the Dow. Dow seems to be kind of leading. That's the Dow 30, no more than industrials. As far as I'm concerned, it's acting very well. But not good enough. You need speed in this takeoff from the bottom. And I want to see a move above the high of the two days ago, above 30,817. That'll start leg scene. You want to see it fairly soon. The S&P, not quite as good a pattern. Everything's happening a bit lower down. I did a really detailed study of this. Someone that sent me their notations in the Chapman Wave was a little too small for me to read. So I sent it right back to them. I'm going to go through this in my show coming up, the Tiger Technicians Hour. But in the meantime, up 11 at 3706. It's got a long way to go to go to the 3790s, 3,800. That's going to be really important in the next few days. But it is up 11 points. That's good. Going to the QQQ index 100 trading vehicle. Nice move up today. Up $1.81 at 272.20. Entry needs a lot. It needs to get to the 280 level. I would say what's today, Thursday, by Monday afternoon, Tuesday morning. That's really what you want to see. IWM is the Russell 2000. Kind of stuck up 95 cents at 172.17. Now it's not acting as well as it had a couple of days ago. Gold is attempting a rally here for the first time in a while. Up five at 1639. But look at the dollar. The dollar is still up in the higher range. It is down 17 ticks at 112.72. It's fighting two patterns. One is the arch formation, like a lowercase H. And there are other is a cup formation like a U pattern. I'll talk about that when we get back for the Tiger Technicians Hour. TLT keeps making low lows. Aye-aye-aye-aye. Down 75 cents a gain today at 95.79. That makes the TBT and extension even higher. That's the inversion of the Treasury Bond ETF. Crudall is doing very nicely. Crudall is up two and a quarter at 86.8. I'll be back for the Tiger Technicians Hour. Hope you can stay. Check out my opening call. My daily views later. Hazel Chapman, hope to see you in a few minutes.


Let's do some examples. Pause the video and try these for yourself. How many sig figs are in each of these numbers? Okay. 102.87. This starts with a non-zero digit, the 1, and goes on from there. The only zero in it is a captive zero, which we know is significant. So this number has 1, 2, 3, 4, 5 sig figs. Okay. 45,000. This number starts with two significant figures, the 4 and the 5, but these are followed by three trailing zeros. Since there's no decimal point in this number, they're non-significant because we don't know if those zeros are exact or the result of rounding off. So this number just has two sig figs. 0.020. This number starts with two leading zeros, which are not significant. We start counting when we get to the first non-zero digit, that's the 2, and the trailing zero is significant this time because the number has a decimal point. So two sig figs here. 0.009050. This is much like the last one. Start counting the sig figs at the 9, which is the first non-zero digit, and that gives us four sig figs in total. Okay, last example. This number is written in scientific notation rather than standard notation. So let's rewrite it in standard notation. It equals 0.0415. And you should be able to see now that it has three sig figs because the first two zeros aren't significant. Now look back at the scientific notation. Notice that when the number is written as 4.15 times 10 to the minus 2, those three significant figures are placed in obvious fashion at the start of the number. The non-significant zeros are hidden. Instead of having them there as placeholders, we're using the times 10 to the minus 2 part to give the digits their correct place value instead. And this leads me to a useful tip. If you're ever in doubt about sig figs, convert to scientific notation. Scientific notation gets rid of non-significant digits. The first part of the number shows you all the sig figs, and the second part just adjusts the place values. This also gives us a strategy for dealing with the ambiguity in numbers like 45,000. What if we actually want to write 45,000 to five sig figs? That is, we want to show that the 45,000 was measured accurately to the nearest whole number. Well, if we write it in scientific notation, we can show that those zeros are significant by including them in the first part of the notation. When written like this, the trailing zeros become part of a number with a decimal point, and so we know for sure that they are significant. So brush up on your scientific notation. Now I'm just going to revisit this example for a second because there's a potential misunderstanding here that I want to clear up. Just because the leading zeros are not significant doesn't mean they disappear. 0.020 is not the same as 20. You can't get rid of those first two zeros. The function of those first two zeros is as placeholders for the place value. They say there are no ones and there are no tenths. The actual useful part of the measurement starts at the two in the hundredths place and goes on with the final zero. These are the digits that tell us the size of the number. But if we don't have those first two zeros, then the two would have the wrong place value, and that would muck everything up.