I want to start with this quote from Anthony Froshow reviewing pan aims and modern typography by Herbert Spencer. Why celebrate people if you can't say what they did and why and for what and for how much?" I want to use that as a framework for talking about this guy. Anthony Froshow talked, Cangarland I the past that I will talk about today. I want to ask, why can, why talk about him, what did he do? yw'r sefydliadau? Yn y gyfnod i'r ddweud yma, yng Nghymru, yng Nghymru, yng Nghymru yn ysgrifennu. Felly mae'r cymdeithas o'r glipau o'r cyfrif. Mae'r cyfrifau'r cyfrifau'r gweithio, rwyf wedi'i gweithio'r gweithio'r ddechrau o'r 300 ddweud i'r sgwrs. Mae'r gweithio'r gweithio'r ddechrau, mae'n ddiweddol yn dweud. Mae'r ddechrau'r gweithio'r ddechrau yn 175 ysgrifennu, But the graphic design causes only 10 years old so we don't really have a past. So how do you develop a signature pedagogy and how do you develop a course? And that's where Ken comes in, he brings some kind of DNA. He taught me and I wanted to bring that into the course. So why Ken? For me he brings the micro and the macro, the micro detail in and off typography and yet always that macro view. Helm will always make a point out to explain the political context, and the social context in which that is what is said. These quotes would be printed or put on screens around our studio. What's interesting is that very progressive statement around keeping up technologically, and yet it has a clear gender bias within it. Ken has actually admitted himself that he has an overwhelm, this is a quote from Ken, an overwhelming urge to correct the heavy gender emphasis of the first fifteen yn ysgrifennu, ond y ddylch yn ymgyrch yn ystod, a byddai'r ddweud yn ystod. Rwy'n credu, yn y studio, rydyn ni wedi ei fydd yn ei. Felly, 70% o'r ddweud yn y ffemol. Rydyn ni'n fyddyn nhw'n cael ei gwybod i'r ddweud ymgyrch ar gyfer hyn. Rydyn ni'n gwybod i'r ddweud o'r ddweud o'r parwys, ac oeddi'r ddweud. Yr hyn o'r ddweud ymgyrch yn ei ddweud o'r ddweud o'r ddweud, Ie'r gweld yr ysgol roedd cyllid yn rhoi'r ffordd sy'n imboyffau mail. Ond hwnnw fawr gen amser i'r gweld yr ysgol iawn i fynd i deli. Felly, mae dros fel ysgol yn rywbeth o'i? Felly,'r gofio'r llwyaf o'r ysgol. Mae'r jwgau ar y swyddo, ond yn gweld yr unedd teimlo ar y canol. A wnaeth pôl i fynd i fyny yw'r pwysig o'r pwysig o'r sgol. y sectionist murwyr o'r drwy'r ystod o'r Eilodd yn y 70 ac 80 ac oedd ar y ddechrau'r cyfle o'r blynedd. Rwy'n gweinydd, mae'n trwy'r cyflwyfyr yng Nghymru, mae'r cair yn gweithio'r dynnu'r ffordd o'r chyfodd. Yr hyn yn cyfnod, mae'n rhai symposiwn allanol yma, oedd mae'n meddwl i'r cyfrifio ar y cwrs honno yn ei gwrs. Rwy'n meddwl i'r 2015, yn y cyfrifio, mae'n cyfrifio ar y cair yn rhaid yn rhaid i'r cyfnod. I think it's been one of my favourite parts of the course where we had Michael Rock on Skype from New York, with Ken Garland taking issue with Michael over his 2009 article for content. So for Ken, content is absolutely vital in and also the context that he's working in. One of the catalysts really for written by was this key text which we have within the course and it's something that was published through Reading in 1996 and it spans all the articles that have been written on most of the articles that have been written by Ken between 1960 and 1996. So this has become a key resource on the course and something that we wanted to retain. The problem is as a key text this is how much it costs so this is on A, but on Amazon. So it's out of print, it's really hard to get hold of so how can you have a key text, how can you keep that past alive when books are going out of print so this is a continuing problem. Also the students are accessing their content on different platforms. So the challenge was how do we keep that past alive, how do we keep that text alive. So we travelled to Camden where Ken lives and we went to him with a proposition. So here is Ken at his home and studio in Camden in Albert Street, 71 Albert Street. And the proposal to Ken was to repurpose a word in your eye for a web platform adding recorded interviews with Ken about adding the context to those articles. And the intent was to add metadata and links outside of those articles and the content and make it open source and responsive. So he would give us that text if you like and open it up to the world. So he was like, yeah that's great, let's do it. So we sat him down and we've been travelling over the last four years or so travelling down to interview him. So now I'm going to play you a number of clips from those interviews that will be interested to get your feedback on what you think of these. So this first clip is him talking about an article he wrote in 1960 and it was called Structure and Substance. And modernism was slow to take hold in England. So he was looking to Karl Gerstner in Switzerland and he travelled there and he was looking to Saul Bass in New York and he was looking at the American model and Swiss model and wondering what that would mean for him as a teacher. The context is he's teaching at the time at the Central School of Arts in London and this is him talking about the Americans in the Swiss. I don't think Karl Gerstner and Saul Bass ever met. They admired one another but I don't think they ever got together. Except in the pages of this article I wrote in Penrose annual. What was the reaction of students when you shared them this one? Well, enthusiastic about both. They admired I think both Swiss graphic design and the best of American graphic design in equal measure. And I wanted them to and these were students at Central School of Arts and Crafts at that time. I wanted them to feel as devoted to both as I was. Of course that question was, well now, where do we go from there? Which I was asking too. In the article I really was asking a question and in a way trying to answer it. I was saying, well here we have two excellent models. The American one born to some extent out of the European one. But varying very much because of its own situation. What do we go? I saw us stifled by the tradition of British printing and print design. And very much in need of something new, something refreshing. Something we could break away from what I had said was a played out tradition. So in between interviews we had access to his archive and we've been gathering and recording that. This second clip is him talking about Beatrice Ward and Stanley Morrison and the conversation he had with Beatrice Ward. Here we have to talk about Stanley Morrison and Beatrice Ward. Stanley Morrison influenced Beatrice Ward greatly and he has the moving spirit in the monotype, type setters, type funders rather. He was a traditionalist.  Isn't that intriguing? Some people know that by Stanley Morrison that alongside his traditionalism was this strange involvement in communism. Anyway, there he was. Regarding all the Bauhaus and Schickholt and all that gang as being just beyond the pale, not acceptable to us, not English. Beatrice Ward came from America and became thoroughly imbued with and possessed with the notion of British, I think mainly English, printing and print design. And she thought right to the end of her days, bless her, that print design was best left in the hands of the typographers. So that what you should do was train the typographers in typographic design and let them get on with it. The type compositors. Well, we didn't agree about this because we were their competitors. We were kind of arguing all the time with compositors who said, oh no, it's done this way, not that way. And we said, no, no, no, new typography. Get wise, get into it. And Beatrice had this long, long debate, but she argued in the most charming and delightful way. She was a delightful woman and having a really strenuous argument with Beatrice Ward was a pleasure. We had one lunch together at an exhibition. She buttoned home and she said, I've got to talk to you about an article you wrote recently. You're way off the beam. I want to convert you. She tried to convert me back to traditionalism without success, of course. But it was fun. So what we would do once we came back from interviewing Ken, we would transcribe those interviews and then set them as text for the students to type set. So they would take that conversation that you just heard and then find Ken's voice through type. And this is an example of that. So it would feed back into the curriculum. At the same time, Unit Editions and Adrian Shaughnessy was writing a monograph on Ken and we wanted to work with him. So we contacted Unit and Adrian and said, can we do an exhibition combining the project we're doing with the monograph field doing? And they said, great. So we essentially exploded the two projects together on the walls of our gallery in Sheffield. So we had structure and substance, the book around us, and then we ran in two columns, a word in your eye. And we back projected the videos and the things that we'd done through the text. So you could walk through the book. You could essentially kind of wade your way through this book that was hung. And this was one of the films that we had that was back projected. And this is a meeting that Ken had with Jan Schicold when he was starting to question the new typography. I had the great good fortune to spend a day with Jan Schicold. During the few weeks I spent in Switzerland, I met him at the invitation of Carl Gosner. It was supposed to be quite a short interview, but it extended for the whole day, lunch included. And towards the end of the day, Jan Schicold began to open up about what it was that turned him away from the new typography and towards the new traditionalism. He had had a shock, first of all, in 1933 by being treated as a very suspicious person by the Nazis. Not surprising, he despised. He'd been a fellow traveller for communes, etc. He was put in prison. Big shock. When he came out, he began to think, and I don't agree with him about this. I didn't then, we had a bit of a discussion about it, that some of the new typography had become absorbed into Nazism. Now this just wasn't true. For example, the Nazis very quickly flung over their obsession with the sunset of typefaces and went for the black letter. That's not the new typography. But that's what he felt. When he came to Switzerland as a refugee, he wrote a book. He wrote it and took quite a while before it got published. In that book, he still espouses some of the principles of new typography, but he's beginning to sort of loosen up. He hasn't yet sprung the new traditionalism on the world, but he's loosening up. Within a year of my visiting him, he had produced his thoughts on new typography. He was having a terrible argument with Max Bill.  You're no good and so on. They had a bitter, bitter confrontation. That confirmed Chickle in his belief that the new typography people were not his kind of people. I liked his work in new typography and in new traditionalism equally. I thought they were both. He could never not be a great designer. It's part of the process of curating and collating the materials. It was great to get feedback from Ken at that point and from Adrian Shaughnessy. Tell us what they thought about the films that we were making and how it was progressing. For our students to feedback on that process and for them to walk through the work and to talk to Ken. The question what for, for how much, is probably answered with the work that Ken did for the campaign for the nuclear disarmament at CND and also what he's most famous for, the first things first manifesto. Written in 1963, probably on the back of Silent Spring, Rachel Carson written 62, which was feeding in to his work. Is Ken talking about the origin of first things first and it being quite a back of a conference like this, where he penned it? The birth of first things first was terribly casual, off the cuff. Its writing was very casual, done at the back of an audience for a symposium on quite another subject. In which I thought, well, what am I really interested in, not what they're talking about, but this. And finally got the opportunity to declare it at the end of the meeting, casual. Then the casualness of people come over and say, we like that, can we be part of it? And I say, well, I'll see what I can do. And then writing it up and again a bit more carefully and then getting it printed. And then thinking, well, who should sign this? And then working out who the secretaries might be terribly casual. But there was some sort of purpose there in these signatories. I wanted young people, students of mine. I wanted elderly people, older people, teachers of mine. I wanted practitioners, my confrers, people of my own age. So I wanted a mix. I didn't want particularly famous people. I didn't want big names. I thought that wouldn't be part of the thing. And that's the way it was. I also, you may not have realised this, wanted to reverse the alphabetical order in which I displayed the signatories. So that a dear friend of mine, Edward Wright, you had been my teacher in an evening class in a central school in experimental typography. He would come for us and he would deeply touched about that. And there they were, a mix. It was a complete mix. So every year we still set it as a project. We hand first things first over to the students and we say repurpose it, own it. And this is this year's second year students performing it really. So they chopped it up, they chopped first things first up, type set their section of it and then put it on placards and performed it through the streets of Sheffield. So it still has something to say. So what he wrote in 1963 still means something for those students I think. And so here we are as I come to conclude this talk. So we continue to edit. We have hours and hours of video. That edited video is making its way now. All that substance is being put into a structure. So it's becoming this website called Structure and Substance. And this is going to become some kind of open source resource that people will be able to access. So those stories aren't lost and it connects the past to the future. And then it's really important that Ken gets to see that. So we spend a lot of time going back to talk to Ken about what we're doing and get his critique on that and get his eye on that, as well as the students seeing that work. I wanted to finish with, this is typical Ken really. It's the last clip and it's him talking about an article he wrote in 1988 on improper lettering. And it was in response to what inspires him or what continues to inspire him. And Trump had just arrived in London. So I've coloured some of this what he's saying here with some of the images that might illustrate what he's saying. But I would say that the examples that have excited me were spontaneous graphics, street graphics that I found among protest movements like Occupy, among movements like the Campaign for Nuclear Disarmament, where street graphics was just thrown up passionately, perhaps, certainly enthusiastically, and which seems to have very little regard for rules or any special demands that you should have formed to unconfirmity. That's to me something we've got to take account of. It's unruly, it's sometimes offensive. And as a graphic example, sometimes I recoil from what amateurs are doing in my street and then I think just a minute, it's lively. It is itself. It isn't mass-produced. It is spontaneous. And these things of spontaneity are to be treasured. So just to come back to the fresh out quote, we've tried to capture, we've tried to celebrate the life and the work of Ken Garland, not in a book form, but in an open source responsive site that aims to continue the discourse started by Garland. Whilst examining at the same time the what for's, the why's and the for what's, and people can respond to that. So just to conclude, the exhibition that you saw is available to travel. So if anybody's interested in taking that exhibition to your institution and speak to me about that, we can arrange that. And also hopefully the site will be finished later this year in November. So I hope to open that resource up for other people if you're interested to access. I'd be very much interested in your feedback and what you think of the project over the next few days. I'll be around and we'll be good to meet you all. Okay, thanks very much.


فشرف بالشتغالي بالعلم ولا تبغي به ما عشت يا دا دا دا لا وياله من شراف عظيمي رقبة بن عامل رقبة بن عامل so i never let the man to ask without reciting look at that the prophet said to him او عقبة don't let a night go by without you reading قل هو الله واحد انه معاوذ اتين ان شاء الله تعالى when i start the tafsil of the Quran we are going to take many benefits that are in the معاوذ اتين شخل اسلامي تيمي اروح a thick book on just the معاوذ اتين and the benefits that are in it بل تيمي اتين many of us don't even know what in these two في هذه الثلاثة سورة قلوا أعوذ فلك و قد عمي الناس يجب أن يكون هناك أفضل والله العظيم و how Allah protects you و when the Prophet ﷺ got magic done on him what did he read ها؟ يا إخوة many of us already have the kills right many of us already have kills but how many of us actually go and read it نا so he never left it أقبص it I never ever left it never he says never came a night except I read it they even asked him on your deathbed he said he saw him on deathbed that night I was on his deathbed before he died he read it they used to recommend that three chapters be recited three times so when you go into bed sit in your bed and do this read it and read each of them three times now it is recommended that one recites the ending of Ali Miran upon waking and the fact starting from very in the creation of the heavens and the earth that is ayah 190 until the end of the chapter this is due to the fact that it is narrated in two authentic books that the Messenger of Allah peace and blessings of Allah be upon him will be recited and will be recited peace and blessings of Allah be upon him will be recited the last portion of Surat Al-A'ili Miran whenever he woke up so in the creation of the heavens these verses from onwards the Prophet said as soon as he woke up he would recite it to the ending of Surat Al-A'ili Miran when you wake up reading it that day you will wake up and you fresh and that night you slept and the morning you woke up and you read your Qur'an are you there? I promise you you feel fresh even if the person wakes up and when they wake up slowly they say الحمد لله الذي أحيانا بعدما أماتنا وإليه المشور when they wake up I promise you that day is so fruitful imagine the person who adds onto this these Suras in the Qur'an regarding what to recite when with a sick person so if a person is sick and is ill what should you do to them? now again, what Qur'an should we read to our ill parents, family members, cousins how should we cure their situation this is what you need to do it is recommended that and fair to hear of you recited due to the Prophet ﷺ saying in an authentic regarding this chapter and how did you know that it was treatment? so read Surat Al-Fatiha if you go to visit a sick person sit at that sick person's head and read Surat Al-Fatiha 7 times 7 times you go to your cousin or you hear your auntie sick your mom says today I feel tired I'm sick tell her to lie down and read Surat Al-Fatiha 7 times I promise you to cure now so again what you can do is to read blow it into your two hands and then wipe over the person if the person is not a محرم then of course you don't touch them nobody go close to them can a woman read on a man that's not her محرم she can she can read on her cousin if he's sick for example but it's better to avoid it and so I once entered upon خيثنا when he was sick I said to him I see you smiling today he replied indeed the Quran was recited upon me so here is an issue which is if a person is sick he said if a person is sick and you read the Quran right next to them they find themselves a bit light are you with me brothers so try to read now a days Alhamdulillah because you can't every day get somebody to read for you Alhamdulillah we got recorders we got tapes, we got video try to sleep at night listening to somebody it's so nice how many of you go to listen to Quran who else if somebody is sick it's not good to play for example it's not good to play the issue of whether the recording can be a رقية that's a different thing that's a whole different thing you're not listening to the Quran to kill yourself you see so the issue of kill there's a خلاف where they can be used as a رقية there's some scholars who hold the opinion that it's not permissible that the tapes and the audio are not رقية what is رقية is that the person comes and he reads on you some scholars they say no it's permissible to listen to it the point we're talking about here is not the رقية we're talking about listening to Quran before you go to sleep if of course you got a family member who's reading Quran like your wife is reading the Quran you go okay try to just read it next to me then and you go to sleep listening to it that's good or your husband is reading and she just listens to his recitation and she goes to sleep that's that's better much better or your brother is sister or your brothers your brother hearing your recitation all of that or your mom that's good if you don't have it I think you should listen to Quran no that's incorrect you can't listen to it rather I realized when I listen to Quran personally that whole night subhan Allah it's somehow connected to the Quran that I listen to when I wake up I can still remember those verses in my head the night sometimes I go to sleep listening to our lectures majority of the time I go to sleep listening to lectures or listening to I've been reading so much I got tired I just can't do anymore my brain is gone but I still want to benefit so I just put on a tape or I put on a cassette or Sheik Al-Bani for example and Sheik Ben Uthaymeen Sheik Ben Ubaz أضع علماء مشايق I'll listen to them when I wake up it's somehow I feel like I've been listening to all of it going through my head has it happened that you went to sleep and the Quran was still on no you generally switch off in it right before you sleep yes or no the majority of the time you're going to switch off you're going to somehow wake up and then switch off and go back to sleep okay you're an exception Gulayt you're an exception of the principle what about you Uthayd it switches off itself okay what about you you switch off what about you you don't even know what happens when I wake up you look like a professor you see like a professor what's your situation what's your story like you don't even listen to the Quran and then you wake up and it's still on it runs out of the very days and okay the whole Quran good are you going to be sleeping on the Quran still on for Fajr and Imam and the Quran still on yeah I can't do that I can't reach the point where my brain is tired and I'm going to sleep I'm going to go to sleep and just me generally I use the laptop in it so the laptop is very because it's bright in it so I make it look like a light dark I put the laptop down like that and when I feel like okay yes you got to the point I closed the laptop it's rare I'd actually just let it just go on it's rare it happens sometimes now you're tired you're very tired it won't happen because the overwhelming majority of the times I switch off no it's not bad no Quran to be on what's haram is for you to talk over the Quran are you doing anything over it no the Quran goes over it goes to your mind trust me it's sublimatory messages yeah I tell my wives put the Quran on 247 hours leave it on you don't know these kids that are running around you think they're playing you think these kids are playing they memorize everything that's been read you trust me it will go too much into your ear and you'll memorize it this goes to the long term memory the long term memory let me give you guys an example how much of you guys have memorized music that you didn't even intend to memorize it just went to your brain that's it you don't need to answer it keep it to yourselves somewhere you're looking like now when you say it out loud it's true yeah I used to know we don't want to expose yourself that's the same with the Quran it sticks to your brain sometimes you would say read a hadith upon me hence if a hadith can be used in such instances the Quran is all the more worthy of being used some of the salaf they used to listen to a hadith they would just say can you narrate a hadith for me and they'll find joy from that and that would cause them to be energized if that's a hadith he says فهذا في الحديث فالقرآن أولى فالقرآن الكريم أولى so that means that shows the permissibility of listening to lectures at night when you want to go to sleep and the Quran and stuff like that so this whole chapter we can just jump it based on the points that there's no evidence that's authentic transmitted in it so all of that which is going to mention is weak none of it's authentic there should be read on the dead nothing should be read on the dead no hadiths no evidences but some scholars they said it is permissible to read next to are you with me the one who's on his deathbed next to him and the reason why they're reading next to him is so that he dies quickly that you know the nefse goes out easily and that he doesn't go through the agony of pain the agony of death just that everything goes smoothly so this concept of this person is dead let's read Quran on him how many family members know that people who practice this reading Quran on the dead is it very common in the aging community one just each and sadly who pays for all of that the family who lost her they just lost a loved one they're suffering and then they have to go out of their way to buy food and feed others are you with me for them to be given money and for them to be given food and for them to be helped that's what should have been happening but what's happening is that they are getting they're losing money and wealth and everything yes it's words of Allah but it should be said in the right places right the words of Allah can you read it in the toilet and just scream it all out they'll say no to you of course you gave sin for it you're innovating you're going to get sin for it now it's innovation all of that is weak some Ali they have this concept called some Ali have this very concept called whenever they come to a gathering they'll say فاتح فاتح فاتح فاتح فاتح فاتح فاتح فاتح everybody just throw your فاتح that's before the discussion starts have you had that before you did you have you're some Ali right you're some Ali right okay a lot of Somalis they say they're Jamaicans صح that's very common in the early 90's a lot of Somalis were in school and they were Jamaicans and in school one time all the Somalis started being honest and I remember one of my teachers said wow there's a lot of you Somalis in school it's like wow when did you guys all come here we were like 90% of them were already Somalis before they just say they're Jamaicans they're all have you had it before they say another thing that Somalis practices is that when they move into a house they read on the house they read on the house صح and they invite everybody over to eat and munch do the Asians do that as well yeah they do Adan on the house everything where's the deal for that who said do it for a house he said on the house but who said when you move into a house that's all innovation restricting it to a house a day everybody comes and Adan is made the shaytan is going to run away بداع ما انزل الله بها ما انزل الله بها من سلطان ما نعمل عمل ليس علي أمرنا it applies there it's an innovation newly invented yeah they use a hadith can you can you fast for your mother what about Hajj for the dead what's the word for the dead all righteous deeds reach them is it a strong opinion that's a discussion that's often some scholars hold that opinion all these reactions they reach the dead some scholars said that some said that Quran doesn't reach them where did that come from but they said this is an amal salih all of amal salih reach him what about a righteous child his good deeds go towards his parents as well all of that so let's just this chapter is weak so let's not read that we're going to go into the last chapter of the book Insha'Allah we're going to finish today Insha'Allah إعلم أن القرآن فاصل الباب تاسع في كتابة القرآن وإكراب المصحف القرآن العزيز كان مؤلفاً في زمن النبي صلى الله عليه وسلم على ما هو عليه في المصحف اليوم ولكن لم يكن مجموعاً في مصحف فكان محفوظ في صدور الرجال وكان طوائف من الصحابة يحفظونه كله وطوائف يحفظون أبعاضا وطوائف يحفظون أبعاضاً فلما كان زمن أبي بكرن صديق رضي الله عنو وقتل كثير من حملة القرآن خاف موتاهم فمن بعدهم في استشار الصحابة رضي الله عنو في جميعه في مصحف فشاروا بذلك فكتبوا في مصحف وجعل في بيت حفصة أم المؤمنين رضي الله عنو فلما كان زمن أثمان رضي الله عنو وانت الشر وانتشار الإسلام خاف أثمان رضي الله عنو وقوع الاختلاف المؤدي لا ترك شيء من القرآن أو الزيادة في شيء فنسخ من ذلك المجموع الذي يند حفصة رضي الله عنو الذي يجمعت الصحابة عليه وبعث بها إلى البلدان وأمر بإتلاف ما خالفا وكان فعله هذا بالتفاق منه ومن عليهم نبي طالب وسائل الصحابة وغيرهم رضي الله عنو وسائل الصحابة رضي الله عنو وسائل الصحابة وغيرهم رضي الله عنو وإنما لم يجمعه النبي صلى الله عليه وسلم في مصحف واحد لما كان يتوقع من الزيادة ونخص بعض المتلوي ولم يزال ذلك لا وفاتي صلى الله عليه وسلم فلما أمنا أبو بكر وسائل الصحابة رضي الله عنو ذلك التوقع وقتضة المصلحة الجمعة فاعلوه رضي الله عنو وقتل في عدد المصاح في التي بعت بها فقد قال الإمام أبو عمر الداني أكثر العلمية لان أثمر رضي الله عنو كتب أربع نسخ فبعت إلى البصرة يهداهن ويلى الكوفة الأخرى ويلى الشام أخرى وحتبس عنده أخرى وقال وحاتب السجس تاني كتب أثمان رضي الله عنو سبعة مصاح فين بعته واحدا إلى مكة واخرى إلى الشام وآخرى إلى الشام وآخرى إلى اليمن وآخرى إلى البحرين وآخرى إلى البصرة وآخرى إلى الكوفة وحبس بالمدينة واحدة وهذا مختص ما يتعلق بأول جميل مصحفي وفي حديث كثيرة في الصحي وفي المصحفي وفي المصحفي لا تلغاة ضمّ الميب وكسرها وفتحها فالضمّ ولكسر مشهورتان والفتح ذكراب جعفر النحاس وغيره القرآن كان عن الممارسة ويبقى في الهاتف هذا الوصول لتأكيد أن الأشياء تأتي صحابات وعرابات لم تكن مدينة للمارسة كانوا مدينة للمارسة كما ترى في الوصول اليوم المساعدة لأنهم يسألون أثناء القرآن لأنهم من مدينة لديهم مهمة للمارسة هل أنت معني؟ وإذا تذهب الآن ونظر إلى اليوم يجب أن يجب الناس ممارسة أذكر أن أرى في سمالية أنه يممارس المساعدة المساعدة المساعدة للمارسة يجب أن يممارس المساعدة المساعدة أخبرني أنه لم يجب أن يفعل ذلك لماذا يجب أن يممارس المساعدة لذلك هناك أشخاص أعتقد أن هناك أشخاص كذلك في الهاتف أشخاص يفعل ذلك هل أنت معني؟ في الوصول اليوم عندما تتحدث عن إي or Bartlett's Bank من أنت تتحدث؟ هل أنت معني؟ يجب أن يممارس المساعدة في الوصول اليوم أخبرني أنه يممارس المساعدة لأنه يجب أن يرسل من أجنوك يأتي من أجنوك ليس أكثر من الضخم فهذا هو الموقع الممارس هل أنت معناس أن العالم يجب أن يتحدث عن إجابة وأنه يجب أن يتحدث عن إجابة أن يممون من أجنوك هذه المساعدة يذكر كثيرا لا يجب أن يقوم بذلك. فهي سيقوم بفعل كل شيء بسبب كيف they are and the way that they see things. أمام المجموحين والذين يذكرون القرآن والذين يذكرون المجموحين. في حالة الأمام المجموحين والذين يذكرون القرآن والذين يذكرون القرآن والذين يذكرون المجموحين عمام المجموحين. المجموحين يذكرون القرآن والذين يذكرون القرآن والذين يذكرون القرآن أبو بخر فيد رضي الله تعالى عنه أن القرآن لا يتصمير. وأن القرآن يتصمير. فهي يخبره بعمل أن القرآن يتتحر. فهي يخبره بعمل المجموحين ويخبرون القرآن والمجموحين. ومجموحهم جميعا معه. فهذا was the first time it actually was written as a mustap that was brought together. وذلك فهي تصميره في حالة أبو أمر. حالة أبو أمر كانت فيها في حالة أبو أمر. في حالة أبو أمر كانت يتصمير جميعا معه وعني ابو العام متاديف . الذين يتاديفون قرآن والدين الخاص قديموا علىه ومأوهمهم هما ما وإنهم يذكرون. يصبر صلى الله عليه وسلم never compel the Quran أمر سوبا بخير ... لماذا لم يفعل هذا ؟ الّنبياء وέبو فيد رضي This is why the prophet did not have to do this. الماذا من أنّه ليس فيد رضي أنه ي كتبا لأن لم يفعل الّنبياء وغفر the Quran كان يجب أن يتم من الغفراته يصبر 건ج المال أن شيء جديد might be revealed or that something of it might be aggregated and such anticipation was something that continued until peace be upon allah how many who have died.


Yeah, but what time is it? It's time for the Abbott and Costello show We're on the air for ABC here in Hollywood. Well, what are we waiting for? Let's go with the Abbott and Costello show Yes, it's the Abbott and Costello show produced and transcribed in Hollywood for your listening and laughing pleasure Chuckles with a carload and music by Matty Malnick. So hold on to your chairs folks for here. They are what Abbott and Lou Costello Why are you late again? Why am I late again? Yes? Well, I've been helping my uncle Tom's Zizamas in his butcher shop in Baltimore. He's having a sale on lamb chops for four dollars a pound Wait a minute. He sells lamb chops for four dollars a pound. What does he pay for them wholesale? About six cents a piece Then what makes the lamb chops so high? It's some little paper panties the garment workers union. Don't pay don't work for nothing You know That's talk sense. What why are you limping? Well, when I was coming to the studio tonight a big dog in a parking lot bit me on the lake I still have it out that dog might have rabies. Oh, gee. I hope he does.  Oh, sure my great-grandfather when George Washington crossed the dollar where my great-grandfather Valley Forge Costello was the first man to jump out of the boat. He was yes, but Washington made him get back in The boat and go across anyway What makes you look so tired didn't didn't you get any sleep?  Well, if you snorts a lot why why didn't you do something about it? I did I moved to another room When I dreamed about Merlin all night long by the way, how are you how are you getting along with Merlin? We're hitting it off pretty good. You are yep. I keep putting my head on her shoulder and she keeps hitting it off Costella Why don't you go back with the rest of the baboon okay any message get him out of here What are you yelling about boy we having trouble what do you mean my uncle Mike and my Aunt May they bought a houseboat on Lake Ourhead and they moved in Monday, and now Aunt May is missing what happened Last night. She forgot and went down in a cellar for a jar of preserves Haven't been there any signs of her at all only one clue this morning. Her apron came out of the water faucet and Pismo Beach Oh, it's too bad. That's too bad cost. Oh, you know, you know my uncle was lost to sea He went down with the ship. We felt terrible about it I know how you feel at it. My great-grandfather went down with his schooner. He did After three beers, he couldn't stand on his feet I'm talking about ships at sea. Have you ever been to sea? Oh sure.  Yeah, I have a burler short the Burbank. I go to sea. I Thought so your coward you'd be afraid to go out in the ocean in a boat. How did you call me a coward? I haven't got a cowardly bone in my body. You haven't no, but there's some flesh. I'm not sure of Yeah, the whole family are cowers Castella. I don't think any of them have ever went to sea Oh, no, my brother Pat was in the Navy him and five other sailors were shipped on a desert island There was only one girl on the island my brother married her one night.  Where's he now on a bender I Talk sense now take take me I love the sea the sea the sea is in my blood Lou sailboats sea boats tugboats They're all in my blood. What everybody's got boats in a blood boats in their blood. And you ever heard of blood vessels, but And I should be working with a girl instead of you I work with a clever girl once I remember she wanted me for her husband. Yes I remember to her husband wanted you for target practice Anyway, I'm not like you you've got your eyes on every girl you see I have not got my eyes on every girl I see you haven't no only those I can't get my hands on I The problem with you Lou is that you're not serious about women No, and I'll never get serious about women never never. Well, I may get married and have eight or nine children But that's as far as it'll go Costello without a doubt you have the lowest IQ of any man in California. I know it Abbott, but I try not to act conceded right I Tell her why don't you find a girl and get married? I found a new girl last week I'd call her my little pale face. Is she an Indian? No, then why do you call her pale face? She's got a face like a pale All that stock sense well, what is the girl's right name? Amber Amber was she named after the book? No, she was born on a way to the hospital between a red and green light That's the one you can't get a girl.  That's the laundry mat where women rent machines to wash their clothes I wondered why the manager came around and made me hang a towel over that little glass window Someone say what a bundle You should keep in shape Lou wrap that you'll come can we yeah Why don't you be maybe I'll be like me get in shape get exercise years ago I I started planning. I planted things in my backyard and it's kept me young What did you plant your birth certificate? Cassella you are knitted, you know absolutely nothing that is not so I was one of the smartest boys in my school When I was in the fifth grade, I said a record you did yes. I was the only kid in the fifth grade That was old enough to vote Always bragging about your school days. I'm the smart one of this team And I remember when I started in high school or I wasn't like the rest of those 15 and 16 year old boys Oh, you were 37 Hello boys, well look castello. It's our seeing star Marilyn Williams Marilyn you're late tonight. Oh, I'm so sorry. Oh boy I was home listening to the shortwave radio from England. My favorite British program was on it's called the Solitary bovine attendant and his horse pound sterling the solitary bovine attendant and his horse pound sterling Yes, that's right. You know over here. It's called the Lone Ranger in silver I get it I listen to one of those programs every day. It's called strike the Jonathan receptacle Like the Jonathan receptacle. Yeah hit the jackpot It was in parenthesis My favorite British program on the wireless is called the she's the condensers She's the condensers. Yes, stop the music Clever and all that rotting Boys you talk like a couple of typical Britishers Castello, have you spent much time in England? No, I haven't been in English since my great-grandmother died I went to London a barrier. You buried your great-grandmother in London. Had to did you know? Oh Hello, you are so clever. Good. Hello.   What's that?  Yes Costello Why don't you take me out to some swanky place where we can dine and dance? I would I wouldn't know I Wouldn't Merlin, but I couldn't go to a place like that. I haven't got a decent suit to my name Oh, no because that I can straighten that out alone. You want my suit just a minute. What are I just a minute? Do you think I'd wear one of your old suits? Do you you think for one minute that look I sell it would wear second-hand clothing on his back? Do you think I'd stoop so low as to close myself in one of your castaway suits? Yes, well don't stand here. Don't help me put it on the halfway mark in tonight's lap race time for an intermission Costello, let's turn on the spotlight. Let's turn it on on our singing gal from England Oh, that's great for us, and it's great for everybody listening. Here. She is folks Marilyn Williams with Maddie Malmick's music We'll get the stars out of the blue I wouldn't do Costello, where were you last night?  Hey, say, how can I get a car like that easy? Just run into a sunset bus? Now you'll have to get a new car. I already bought one at it It's got two search lights two sets of seat covers bumper cars three heaters twin radios and fog lights Well, never mind that. How's the motor? I didn't take the motor. No dealer is gonna stick me with express accessories Is it a good car? Oh, you couldn't get a better car for ten thousand dollars. What are the cost you ten thousand dollars? Let's get on with your detective story. What case have you picked for Sam shovel tonight? It's one of my most interesting cases I call it the case of the grocer who fell in the wet concrete while building his new store or he's stone cold dead in the market All right, let's get on with it I'm Sam shovel private detective I've enough all night working on a case as I sit here in my little office. I'm tired. I start to do I'm taking a cat nap It's a miserable night It's raining a regular California rain out here it rains the hard way the hard way Up just listen to that rain Coming down in buckets Outside there's a heavy Los Angeles fog I can't wait for the fog to lift you get such a beautiful view of the smog When the smog clears away you can see the rain When it stops raining you get a beautiful view of the La Brea topics That's when you start praying for more smog I Walked to the window. I can see the mechanics in the garage across the street working on my car They're tuning up my motor Well, it's time to get back to work on my desk is a file. I'm one of my famous cases Willy the burglar. It was a cracker jack thief. He died broke there ain't much money in stealing cracker jacks And there's another case the case of a murderer AC McGurk I put him in an electric chair myself I strapped a C McGurk in a chair and turned on the current But it didn't kill him. I found out why he was AC and the curtain was DC Suddenly I remember I've got to make a phone call. I Have a party line. I think I'll switch on my police radio 15 gangsters are holding up a bank with machine guns It's a good thing it wasn't parked near a fire hydrant they'd have called out the National Guard They got a fine police department here one of the best is my pal lieutenant Abbott at the homicides squad I'll never forget the time chief wanted to make a mounted policeman of Abbott a mounted policeman He wanted to stuff him with cotton and hang him over the fireplace Lieutenant Abbott used to be a hotel house detective they fired him because he was too noisy He's got a glass eye and every time he put up the keyhole it would rattle Hello, Sam Joe, it's my pal lieutenant Abbott Abbott, I haven't seen you for days. Where have you been on the trail of verlo gang at Burt Well gang that tough gang what a time I had capturing them. I nailed one of them in New Orleans I nailed another one in Chicago. I nailed another one in Boston.  I got stuck myself Our things at headquarters lieutenant Abbott well I'm a little trouble to him as a guy trying to get revenge on the police force Who is it the guy that runs the fruit stand on the corner every time he passes the station. He swipes a policeman Now I got a new case on my hands I got to find out who smugglin jokes for Abbott in the description Then there's something I've got to tell you it's something that is an encumbrance to my equanimity or Equin to my equanimity What are you trying to tell me lieutenant? Well, Sam, I don't know how to say this you didn't know how to say the last line either Why you concern gosh dang being busted can found it and an Abbott has a foul mouth But that's understandable. He's got a nose like a chicken to Sam I'm gonna give it to you straight your brother's a crook Your brother is the leader of one of the toughest mobs in this town. Okay, lieutenant Ten Jack King Queen ace. What are you talking about? I'm giving it to you straight. That's the biggest rate you can get This is this is serious Sam your brother's a crook you've got to do something I've tried to do something I used to say to him Joe go straight Joe get out of the racket Joe Joe you're gonna get in trouble But Joe he wouldn't listen why his name is Pat Three times I tried to put my brother Pat on the right track, but he wouldn't let me when I the train was always coming Sam your brother Pat is a thief yes He's been stealing ever since he was a kid even in school. He'd steal paper from the supply closet He stole so much paper that when the teacher wanted to give an examination she had to bring the class over to our house Sam she left three kids after school. They've been with us ever since I Know you're a brave man, and you're on the side of the law right lieutenant That's why I came here Sam. I know the headquarters of your brother's mob.  Let's go get the rat We're almost to your brother's mob. Hi, man. I don't have it what sound man has another block to go Sam Why don't you get inside the car you'd be more comfortable? I'm okay. Lieutenant. I'm riding on the running board This car has no running board now. He tells me Sam shovel this is the place for going in and arrest your brother We get inside Identify your brother point them out to me. Come on Lieutenant that's him over there behind the desk the one with the ladder sticking out of his head Why does he have a ladder sticking out of his head? Well, he's really my step-brother What are you two months doing in here? I'll Just a minute. Well, if it ain't me brother meet kid brother Sam Pat shovel my own flesh and blood. Well, how to say 15 That was swell mable tanks. I'll be back at 8 30. Hey Wait a minute. Who was that dame? Oh just one of the gals of my mob.  You mean you have girls in this mob or lots of them Look to that door over there See them gorgeous red heads all ten of them there when the gang gets true at a job the girls sit in the fellas laps They stroke their brows. They make love to them. They sued their noise. All right, Sam shovel tell you brother why we're here Brother Pat. Yes, butter Sam. What do you want to say? Could you use two more guys in your mob? There's a curtain call coming up folks, but first you'll be interested in hearing this What are you going to do tonight? I think I'll sneak over to the play team and get me a girl girls girls girls That's all you think of well a man is entitled a life liberty in the pursuit of women No, but you mean the pursuit of happiness you chase what you like and I'll chase what I like Listen each Thursday night at this time for another great Abbott and Costello show produced a transcribed in Hollywood by Charles Vanda and featuring Marilyn Williams and Maddie Malnick in his orchestra Be sure to stay tuned for the outstanding entertainment which follows throughout the evening on this ABC station