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Annals of Show Business
October 7, 2019 Issue
How Derren Brown Remade Mind Reading for Skeptics
The mentalist's manipulation techniques give people too sophisticated to believe in the paranormal something quasi-scientific to hang on to.
By Adam Green
Brown maintains that he neither has nor believes in any kind of psychic power.Illustration by Petra Eriksson
In 2005, when I was visiting London, a magician friend told me that I had to see the English mentalist Derren Brown, who was appearing in the West End, in his one-man show "Something Wicked This Way Comes." Brown had become famous for an astonishing ability to seemingly read the thoughts of his fellow-humans and to control their actions. In a series of TV specials, he'd reinvented a waning branch of magic—mentalism—for a new generation, framing his feats as evidence not of psychic powers but of a cutting-edge knowledge of the mind and how to manipulate it.
A few days later, I was sitting in a capacity audience at a theatre in Covent Garden. A slim, pale, vulpine man in his mid-thirties, with well-tended light-brown hair and a goatee, came onstage, dressed in a trim black suit and a black shirt. He looked more like the creative director of an advertising agency than like a mind reader, and seemed to take neither his spectators nor himself too seriously: when someone's cell phone went off, he gave a look of mock alarm and said, "Don't answer it. It's very bad news." Beneath his genially impudent manner lurked a suggestion of preternatural self-assurance and even menace.
Brown spent the next two and a half hours performing a series of increasingly inconceivable set pieces, organized around the theme of how susceptible we are to hidden influence. He gave demonstrations of subliminal persuasion, lie detection, instant trance induction, and mass hypnosis, as well as manipulation of his own mental state to control his response to pain. To show that participants were selected at random, he hurled a stuffed monkey into the auditorium, and whoever caught it would come up onstage. (You can see a later performance of the show on YouTube.)
Early on, a woman in the audience was entrusted with a locked briefcase. For the finale, Brown held up a large envelope, which he said contained "a prediction of the future, about the decisions that you're going to make"; clipped the envelope to a metal stand at center stage, where it remained in full view; and summoned the woman back up. He then tossed that day's editions of ten assorted newspapers into the audience and asked her to pick someone who'd caught one of them. Next, he gave her and other audience members a series of choices, through which, eventually, page 14 of the Daily Mail was torn into dozens of pieces, and the woman selected a single word on one of them: "influences."
Pointing out the number of papers he'd tossed out and the approximate number of words in each one, Brown said, "That's 1.6 million different words that you had to choose from in this room, and you choose the word 'influences.' Is that fair?"
"Yeah," she said.
"No!" Brown said in a stage whisper. "No, it's not. It is not fair. It is inevitable."
He went over to the stand where he'd left the envelope, opened it, and, giving the woman one end to hold, unfurled a long roll of paper that read, in large letters, "Influences." The audience gasped and started cheering.
Brown held up a hand for quiet, saying, "Hold on a second. You're all intelligent people. You're going to be having a drink afterwards, or driving home, or up at four in the morning trying to work out how that worked. And you'll think, Maybe it didn't make any difference what she chose. Maybe all that happened is magic boy here switches a bit of paper at the end, hopes she goes for that word, or something. It's a comfortable thing to think. But here's the point: if that is what happened and it didn't matter what paper you chose or what page, and all that was rubbish, then that word 'influences' wouldn't really be on page 14 of today's Daily Mail. And it is."
Brown unlocked the woman's briefcase and removed an envelope containing page 14 of that day's Mail, with the word "influences" circled in red. The audience roared and leaped to its feet. "Thank you all for coming—good night!" Brown said, taking a bow and starting to walk offstage.
But then he paused and again signalled for quiet. He explained that he had been exposing us to secret messages and that it thus made no difference who got selected for the final trick—anyone in the audience would have picked that word on that page of that paper. "Let me tell you what I've been doing," he said. "We've been filming little bits from the wings, little clips of the show."
There followed a montage of moments from that night, in which Brown gave verbal suggestions, sometimes via subtle mispronunciations or non sequiturs, that we had apparently absorbed subconsciously. In one clip, Brown set up a stunt that involved hammering a nail into his nasal cavity, saying, "Do you hammer daily a number 14 mail into your head?"
In another, he explained, "Because of the sorts of unconscious behaviors that we unconsciously choose daily"—and here he turned to the camera and winked—"male subjects tend to be . . ."
And in another he said, "Pain is a subjective thing, like when you're young and you tear around influences, and you cut yourself, and you don't really know that you're cut till you look down and see the blood."
"This is what you've been hearing without realizing you've been hearing it," Brown announced triumphantly. "That's why it was the Daily Mail, that's why it was page 14, and that's why it was the word 'influences.' Thank you for your attention, thank you for coming out tonight, and thank you for playing. Good night!"
This is what Brown does best: he takes an effect from the mentalism repertoire and generates from it an escalating series of climaxes that forces you to rethink everything you've just seen. Rather than diminish the mystery, Brown's revelation of his ostensible methods reasserts and deepens it. He has always maintained that he neither has nor believes in any kind of psychic power, and his emphasis on manipulating people with techniques from the outer frontiers of psychology gives an audience too sophisticated to believe in the paranormal something scientific-seeming to hold on to. Often, the explanations end up being even more perplexing than the feat itself. Whether one believes that he's actually doing what he claims or that he's simply cloaking sleight of hand and the like in brilliant theatrics, he seems to be drawing back the curtain and offering a glimpse into some uncanny realm. As Brown once told me, "People feel that they understand something about what I'm up to but not everything, which satisfies their rational side but leaves room for something more playful and subterranean."
In the U.K., Brown has been a household name for nearly two decades, thanks to dozens of TV shows, several stage shows, two Olivier Awards, and a number of best-selling books. Despite various forays into the U.S., including an Off Broadway run and Netflix specials, he remains relatively unknown here, but now he is making his Broadway début, with the show "Secret." One of the producers, Thomas Kail, who directed "Hamilton," told me that he'd been obsessed with Brown for years. "He just kind of lifts you up and takes you away, showing you things that should not be, and yet they are," Kail said. "He tells you that it's not real, and then he does it."
Kail's words reminded me of something that had happened after the London show I saw. I'd been invited to say hello to Brown in his dressing room. Though clearly exhausted, he was courtly and chatty, but, as we talked, he sat down and started picking tiny shards of glass out of the sole of his foot. Earlier, he'd done a routine that involved walking barefoot across a carpet of jagged broken bottles without bleeding or feeling pain. As I stood in his dressing room, I wondered whether these glass splinters were really from earlier or if he was just treating me to an extra layer of deception—what magicians call a "convincer." Fourteen years later, I'm still not sure.
I met up with Brown again for breakfast one summer morning last year in Southend-on-Sea, a down-at-the-heels resort town about forty miles east of London. Southend's points of interest include the world's longest pleasure pier and the Cliffs Pavilion, a sixteen-hundred-seat theatre where Brown was performing the final shows of a tour of the U.K. and Ireland. I was waiting for him to join me on the patio of his hotel, above an esplanade with a view of the Thames Estuary, which, at low tide, amounted to a vast expanse of muck dotted with grounded boats. As I sipped a weak espresso, I noticed a lanky man with graying hair pass by, do a double take, and stop. "Adam?" he said, in a mildly disreputable English accent. "I don't believe this. Good God, what are you doing here?"
I had no idea who he was, and as my mind frantically tried to place him I stammered something about being there for work, adding hopefully, "And you?"
"Well, I'm here for work, too, aren't I?" he said, hovering over my table. "I'm sure you've heard that Trump is coming to Southend as part of his visit—he's being made an earl, in recompense for all he's done—and I'm here covering it for the New York Times."
I stood up to discourage him from taking a seat, and he went on, "How did you make out with all those people, after I left you that night in New York? Did you go out for more drinks?" Sensing my confusion, he gave me a wounded look and said, "Don't tell me you don't remember me."
Just then, Brown emerged from the hotel, waved, and walked over to the table. This seemed to offend the man. "Excuse me," he snapped. "We're having a private conversation, and it's extremely rude of you to listen in."
"No, no, it's O.K.—he's a friend," I explained. "He's supposed to meet me, and—"
At this point, Brown and the man looked at each other and started laughing. Brown introduced me to Michael Vine, who has been his manager since the start of his TV career. Vine left, and we sat down to order breakfast. I told Brown that I felt like one of the unwitting participants in his TV specials, who are often put through bewildering, elaborately constructed scenarios—part social-science experiment, part con game—designed to make them do things they ordinarily wouldn't, whether good (take a bullet for another person) or bad (push a man off a roof). He laughed and said, "It's a classic hypnotic technique—you induce confusion. You were so baffled by Michael that you were just trying to make sense of it, trying to find something that you could hang on to. And that makes you very responsive and suggestible."
When Brown puts audience members into a trance, he often starts by introducing himself and then withdrawing his hand when they reach out to shake it. "They're coming up onstage and they're already a little bit baffled, looking for direction from me, and then when you drop something that's very automatic, like a handshake, it throws them into disarray," he explained. "When I interrupt the handshake, put my hand on their foreheads, and say, 'Look at me. Sleep. All the way down, all the way deep,' they just go with it."
Brown is now forty-eight. Since the first time I saw him, he has got rid of his goatee and, after years of progressively more indisputable hair loss, has shaved his head. "It's such a relief not having to labor over the intricacies and subterfuges of styling thinning hair and just say fuck it," he told me. Brown's winsome air and even keel can make him hard to read, though he has a distinctive tell—a kind of sudden myoclonic twitch of his head that he refers to as "my nod." It's the last vestige of a childhood plagued by involuntary tics, he told me, and indicates that he is feeling self-conscious, stressed, or anxious.
Off the clock, Brown neither reads anyone's mind nor, despite being a world-class card magician, performs tricks of any kind. He finds it embarrassing. He seems milder than his suave and commanding stage self—charming and scrupulously polite, with no aura of mystery or danger. Though watchful, he exudes no sense that he's scrutinizing your every unconscious action or trying to worm his way inside your head. He is articulate and erudite, and he speaks earnestly but with an undercurrent of amusement—at himself and others—that bubbles up to flavor the sincerity.
When our food arrived, Brown, although he has eaten a light bulb onstage, found his poached egg and smoked haddock suspect. "This tastes very fishy," he said. "I'm not good enough with fish to know, but it tastes—how to put this?—very 'of the sea.' Is that a good thing?" For the next ten minutes or so, Brown alternated between forging ahead with his breakfast—"It's fine, it's fine"—and pausing, a look of skepticism on his face. "I could just ask them to take it back, but that's a real insult, isn't it?" he said. "This is a very English situation."
In the opening monologue of Brown's New York show, he says, "My story was that I had a secret, a big, dark secret I couldn't possibly tell anyone. . . . I presumed that I was gay when I was fifteen, but I didn't come out till I was thirty-one. Which is a very long time to be avoiding the subject of sex. No one must ever know. Which is silly, because when you do eventually come out you realize no one gives a fuck. Truly, nobody cares. Which is a little disappointing, something of an anticlimax. All the things about ourselves that we think are so terrible—to other people, it's just a bit more information about us. We'd worry a lot less about what other people think of us if we realized how seldom they do."
Brown actually came out a bit later—at the age of thirty-five to his friends and family, and publicly a year after. Since then, he has come to understand the toll of having kept that particular secret for so long. "Before coming out, you work—unconsciously, but you work—to sort of divert attention from those parts of yourself that you don't want to expose," he told me. "And even when all that's sorted out it doesn't take much to bring it all rushing back, particularly if you're a magician, because you're doing something fundamentally dishonest."
The theme of Brown's show is that the stories we tell ourselves about who we are and how the world works distort our perception of reality. As a person, Brown may lament that human tendency; as a performer, he relies on it. To be distracted from what a magician is really up to, an audience has to believe the story that's unfolding. Brown's gift is for making that surface story believable and compelling. Though he's not the first mentalist to hint at scientific explanations for his abilities, what he has done better than anyone else in his profession is to turn the purported method into an observable drama. "I remember that, whenever I saw mentalism, it was always about 'O.K., think of a word and write it down.' Now I write something down and turn it around. 'This is the word you were thinking of.' Bam! End of the trick," Brown said. "The entire focus was on the revelation, and it always struck me as misplaced, because that's not the interesting part of the trick. The interesting part of the trick is, What are you doing to read that person's mind? So my contribution was to put more weight on the process, because—dramatically and theatrically and intellectually and everything-ally—that's what's interesting."
Unlike most magicians, Brown wasn't obsessed with the craft and its niceties as a child. His parents gave him a magic set one Christmas, but he can't recall whether he ever performed any tricks. Born in 1971, Brown grew up in Purley, a town in South London, which he describes as "the epitome of middle-class suburbia." Brown's mother, a former wedding-dress model, worked as a medical receptionist. She doted on her son. Brown had cooler relations with his father, who was a swimming and water-polo coach at the local secondary school. "He was sporty and manly and didn't have a lot of education," Brown said. "While I was bright and precocious and not sporty and liked to play dress-up with my nan's scarves."
At school, Brown got high grades without studying much, but he was ill at ease among his peers and was sometimes picked on. He spent most of his time alone, obsessively drawing, devising Lego creations, or talking to an imaginary friend, Hublar, for whom his mother would set a place at the dinner table. "Derren was a complicated boy but just so lovely," his mother told me. "We were worried about him, because we thought he was quite lonely."
Though neither of Brown's parents was religious, at the age of six he asked them if he could attend Bible classes. Later, he started going to church on his own, growing increasingly fervent. "I would be the insufferable one who would sit you down and give you all the proof of why God exists—a neat system that all makes sense," he said. "My relationship with my father wasn't great, and there's God as this sort of father figure and the whole lovely network of certainties that comes with it. And, of course, as I got older there was the sexuality thing that I was hiding and not facing and hoping might go away. Having a big thing you can put up in front of you and say 'That's me' is a very handy tool."
At school, Brown fell in with a group of kids known variously as the Music-School Gang and the Poof Gang. "You were ostracized if you were part of that nerdy group," he said. By the end of high school, other students had become more accepting, and Brown ingratiated himself with witty banter and by drawing caricatures of teachers. "It was all a bit much, born out of a desperate urge to impress, but the relief that I felt of not being trapped in that little group was immense," he said. Brown scored among the highest grades in the country on his English, Politics, and German A-levels, despite not reading any of the assigned books. "I just got quite good at making it sound like I knew what I was talking about in essays," he said.
After a gap year in Germany, Brown enrolled at the University of Bristol, to study German and law, and he took up ballroom dancing, which he had discovered abroad. ("It was an oddly cool thing in Bavaria.") He competed on the collegiate Latin dance circuit, winning several trophies for cha-cha before retiring. "The sad thing is, it kills your desire and ability to dance in any other situation," he said. "I dread weddings."
Still attending church and struggling to reconcile himself to his sexuality, Brown gravitated toward a group called Living Waters, which espoused a kind of gay conversion therapy based on Scripture, prayer, and a belief that male same-sex attraction stemmed from overcompensating for deficits in the father-son relationship. But, he said, "at some point I sort of realized, Nobody's standing up there saying it's worked for them—not really."
During his first year at university, Brown saw a performance on campus by a hypnotist named Martin Taylor. In one routine, Taylor got a student to forget the number seven; when the student counted his fingers, he couldn't understand why he had eleven. "You're laughing out of amazement and disbelief and kind of empathizing with the confusion," Brown said. "Almost right away I decided, I'm going to do that."
He started amassing books on hypnotism and practicing on fellow-students. Soon he was performing on campus and at a nearby theatre. His mother recalled seeing one of those early shows. "I was shaking, absolutely petrified," she said. "I kept thinking, Oh, no. What if it doesn't work? But he was able to put people under in a split second, and everybody loved it. There was a woman who heckled him, but he handled it with aplomb." Another show was disrupted by a group of students from the university's Christian Union. "They were casting demons out, exorcising the process that was happening onstage," Brown said. "And that began—or, at least, fed into—a process of starting to question all of that, too." After some reading and thought, he found that his faith "started to fall apart and seem a bit silly," he said. "I became very atheist, with all the fervor of the righteous."
If Brown had a new religion, it was getting up in front of a crowd. "It would make me look and feel impressive, which I adored, and give me a feeling of control," he said. Alongside his study of hypnotism, Brown began to teach himself sleight-of-hand tricks with cards, and soon he was earning extra money by giving walk-around performances at local restaurants. As graduation approached, he nervously told his parents that, rather than become a lawyer, as had been the plan, he wanted to be a magician. "We said, 'Fine—whatever makes you happy,' " Brown's mother told me. "I think he was quite surprised."
After graduating, Brown stayed in Bristol. He went on housing assistance, moved into a tiny apartment, and eked out a living performing at restaurants. He claims never to have had any real ambition, but his mother remembers him telling her, "Mum, someday I'm going to be a millionaire." His focus and intensity bordered on the fanatical. Brown's friend Peter Clifford, a magician and an actor, remembers spending nine hours with him working on various methods for one card routine. "We'd work on something until I thought we'd exhausted every possibility," Clifford told me. "And Derren would then go off and refine it even more."
Early on, Brown affected a showy persona: long hair, blousy white shirts with billowing sleeves, leather vests, velvet pants tucked into knee-high boots, and Byronic capes. As his act grew in sophistication, he realized that his appearance hadn't kept pace. He cut his hair, updated his wardrobe, and found that he was able to double his fees. He spent most of his twenties working the tables at a Turkish restaurant in Bristol, creating a signature style that blended urbane cheekiness with serious intention. Whether revealing that a man's watch had vanished off his wrist and wound up in Brown's sock, causing a woman's wedding ring to float above his outstretched hand, or making a playing card dissolve into a shower of rose petals, Brown created effects that engaged his spectators emotionally and put more emphasis on their reactions than on his abilities.
Over time, Brown found himself more and more drawn to mentalism and started developing his credo of letting audiences see what the process of mind reading looked like in action. He got his break in 1999, when he received a call from Michael Vine—the man who fooled me at the hotel in Southend. A magician and juggler turned talent manager, Vine had formed a TV production company with an actor and comedian, Andrew O'Connor. The pair told Brown that they were looking for a mentalist to front a new show on Channel 4. O'Connor remembers that Brown seemed completely uninterested, but they persuaded him to come to London for a meeting.
Mentalism differs from other magic in a significant way: no one believes that it's truly possible to overcome the laws of physics and, say, make a leopard vanish from a cage, but lots of people believe that it's possible to divine someone's thoughts, to see the future, or to communicate with the dead. Hunger for proof of a world beyond our own fuelled the rise of spiritualism in the mid-nineteenth century, and then the birth of mentalism as a form of popular entertainment. Early performers, such as the Fox sisters and the Davenport brothers, sought to pass themselves off as genuinely psychic, but, among the famous stage mentalists of the twentieth century, any claim to supernatural powers was generally soft-pedalled. Joseph Dunninger worked to debunk fake mediums; Chan Canasta and David Berglas were both coy about whether their "experiments" were genuine or mere trickery; the Amazing Kreskin calls himself simply "an entertainer."
"Go on without me—I'll never make it."
Cartoon by Carolita Johnson
After Kreskin's heyday, in the nineteen-seventies, mentalism's popularity went into decline, and by the mid-nineties Vine thought that it was overdue for a comeback. He and O'Connor had noted how the American illusionist David Blaine had made magic feel more contemporary and cool. O'Connor went to Channel 4's head of entertainment and asked, "If I could find you a mind-reading David Blaine, would you buy that?"
Vine and O'Connor got the go-ahead, but finding the right mind reader proved to be a challenge, and they spent two years auditioning candidates from all over the world. The only one who felt right was Andy Nyman, an actor who supported himself between gigs by performing mentalism; he turned them down, because he wanted to focus on his acting career, but he agreed to work on the show behind the scenes if it ever went into production. Vine and O'Connor were about to give up when someone Vine managed suggested that they consider his friend Derren Brown.
When Brown came to London to meet Vine and O'Connor, they took him to dinner, and, once the check had been paid, he said, "Would you like me to show you something?" After lighting a cigarette, he spread out a deck of cards and asked O'Connor to remember one of them and to repeat it over and over in his head. First, Brown named the card O'Connor was thinking of; next, he demonstrated that the card O'Connor had chosen wasn't in the deck; finally, starting to cough, he revealed that the cigarette in his mouth had transformed into O'Connor's card, rolled up and smoldering. "It was like the ground opened up and swallowed me," O'Connor recalled.
"Mind Control," the show that Nyman, O'Connor, and Brown devised—they have since collaborated on nearly all of the stage shows—débuted at the end of 2000 and quickly generated buzz. Brown's approach caught a moment: neuroscience, "mind-hacking," evolutionary psychology, and neurolinguistic programming were in the air. His explanations for his feats allowed him to slip under the radar of viewers' skepticism, tapping into technocratic belief systems in order to produce a deeper credulity. "Mind Control" and its sequels borrowed the fragmented structure of Blaine's street-magic specials, following Brown around as he performed such feats as subliminally influencing a betting-window cashier at a dog track to pay out on a losing ticket and convincing dancers in a night club that they'd been touched by invisible hands. His breakthrough came with his 2003 special, "Russian Roulette," during which he performed the game of chance on live TV, generating headlines and controversy while earning a reputation as a kind of bad boy with extraordinary powers.
O'Connor recalled, "Michael Vine would literally get calls from people going, 'We are pitching to a government, we're bidding for a billion-dollar contract, and if Derren will come to the meeting and use his techniques, if we're successful, we'll give him a million dollars.' " Vine would try to explain that it didn't really work like that, just as a magician who puts a woman in a box stage left and has her walk out of a box stage right may not actually be able to render air travel obsolete. O'Connor went on, "They'd go, 'Oh, of course that's silly, but can he please come to the meeting and influence the people so that we can get the contract?' "
As his act has evolved, Brown has gradually tempered his claims about psychological manipulation. These days, he says that he uses a combination of "magic, suggestion, psychology, misdirection, and showmanship," not to mention "the power of the well-placed lie." But he still regularly has to disabuse people of their belief in him. "There's plenty of people that think that I'm genuinely psychic and just won't admit to it," he told me. He cited a moment after a show in which he announced that there was no such thing as spirit mediums and then went on to tell people impossibly specific details about their dead relatives, all the while assuring them that the whole thing was bullshit. "I went out to sign autographs at the stage door, and a girl said, 'My grandmother died recently. Can you put me in touch with her?' And I said, 'Well, you realize what I was doing wasn't real. I wasn't actually doing it.' And she said, 'Oh, no, no, no, I know you're not really doing it, but are you able to put me in touch with her?' "
Brown lives in a four-story town house in London, with his boyfriend of almost four years. He asked me not to identify the exact neighborhood, or his boyfriend's name and occupation, because of stalkers. Early in Brown's career, a woman became convinced that she was married to him and turned up one afternoon at his mother's door to complain that he was an abusive husband. Not long before, Brown had come out to his mother. "It was a very confusing day for my mum," he told me.
His house is decorated with leather club chairs, paintings, photographs, marble busts, magic memorabilia, bookshelves with secret doors built into them, and a large and lovingly curated collection of taxidermy. Brown has been a collector since he first started making money. (He's at pains to stress that he buys only animals that died of natural causes.) He used to be a regular presence at auctions, becoming well known in taxidermy circles, though now he mostly fields e-mail inquiries from dealers. When I first walked in, a giraffe (from the neck up), a swan, and the mounted head of a unicorn seemed to give me the eye. A pair of stuffed dogs and a dog bed off to one side struck me as a nice touch, but then two dogs who were very much alive—Doodle, a beagle mix, and Humbug, a Tibetan terrier—ran in. A parrot flew into the room, past a taxidermied piglet with wings that was suspended from the ceiling, and alighted on Brown's outstretched finger. This was evidently an everyday domestic scene, but the moment had a disorienting, shivery vibe that felt very Derren Brown. He told me, "I've always been interested in creating things that look and feel kind of real, and I love the idea of people not being quite sure how real what they're seeing is."
At home, Brown likes to relax by painting (he's had a number of gallery shows) and cooking elaborate meals. On tour, he spends his days wandering with a Leica through whatever city he's in, shooting street scenes, or in cafés writing. He published his first book for the conjuring community in 2000, and a second the next year. He has also published three books for the general public: a look at the quirks of human cognition; a memoir built around the card routines he performed in his pre-fame days; and "Happy: Why More or Less Everything Is Absolutely Fine," a survey of Stoic philosophy and how it applies to the way we live now. By Brown's reckoning, writing "Happy" helped him move through his own life with more equanimity, and many of the tenets of Stoicism—that we are disturbed not by what happens to us but by how we react to what happens, that we should let go of the things we can't control—have found their way into his performances.
Brown is starting to plan a follow-up to "Happy," which he thinks may focus on the tension between our relationships with other people and our need for self-realization. Whether listening to a partner vent frustrations or performing mentalism for a theatre full of strangers, the secret, he believes, is to take the focus off ourselves and make the moment about the other person or people. "Emerson made the comment 'My giant goes with me wherever I go,' " Brown said. "I really love that image of this sort of big lumbering giant standing behind us. Not just because I have one myself but because everyone has one. And it is the things that we feel separate us, our own insecurities, that generally turn out to be the things that connect us, because they're the very things that we share. Which is how a psychic can so easily sound like she knows about you, or an author can essentially be writing about himself, but it feels as if he's writing about you."
When I had dinner with Brown and his boyfriend at an outdoor table at their local Italian restaurant on a warm summer night, the conversation turned again to relationships and the consolation of philosophy. Brown told me that when a former partner broke up with him in 2014, after seven years together, he had been in the middle of writing "Happy" and was steeped in the Stoic mind-set, which seemed to cushion the blow. "The breakup was relatively amicable and light and easy," Brown said. "And I remember feeling quite proud that I'd dealt with it all extremely well." A few months later, though, when a guy he'd met on Tinder broke things off, Brown, as he put it, "totally went to pieces."
For a long time, he remained puzzled by his reaction. "I fell apart over the little breakup that followed the big breakup, totally out of proportion to what it was—a decidedly un-Stoic response," he said. "But I've thought about it since, and it makes sense. It's the bit that takes you by surprise when you've dealt with this thing over here and put all your attention on that, and then something else sneaks in from the outside." A thought seemed to occur to him, and he added, "Which is kind of what I spend my life doing."
Early in his career, Brown would astonish members of his audience by telling them things about themselves that he couldn't possibly have known. He did this with a technique called cold reading, much used by psychics and mediums. "They throw out statements about you, sometimes guesses based on what they observe about you," he explained. "And sometimes based on probabilities, or sometimes just general statements that could apply to almost anybody." The technique works because of so-called confirmation bias, our tendency to latch on to evidence that supports our beliefs while ignoring evidence that contradicts them. Brown no longer does cold reading and, in his shows, has ridiculed psychics and discredited their techniques. Despite having studied these techniques extensively, he mentioned to me that he had never gone to see a psychic himself. But when I told Brown, while we were in Southend, about a few I'd consulted over the years, he became curious. We searched online and settled on a clairvoyant named Chrissy Bee, who does readings and Reiki healings out of her house.
Chrissy had a kind, maternal face and a head of tight brown curls, which, along with acid-washed mom jeans and a floral-print short-sleeved shirt, gave her the appearance of a seaside pensioner, though her bare feet and a pair of esoteric-looking amulets around her neck alluded to her profession. She smiled at Brown and said, "You must be Darren."
"It's Derren, actually," Brown said. "With an 'e.' "
The name seemed to mean nothing to Chrissy, who ushered us inside and asked us to take off our shoes so as not to track in any negative energy. After introducing us to her dog and showing us framed photos of its two predecessors, which, she told us, "are in spirit now," she led Brown upstairs for his reading. Earlier, Brown and I had decided that it would seem peculiar for me to sit in on his reading, so I gave him a digital recorder and was left to wait in the living room with piped-in New Age music and the July issue of the magazine Fate & Fortune. Porcelain figurines, stuffed dolls, crystals, chalices, and talismans covered every surface.
On the recording of Brown's session, Chrissy said that she wasn't a fortune-teller—"They don't exist"—and explained her method as being like a radio with bad reception: "I give you everything that I get, but it's like a puzzle that we both put together between us." After leading Brown through a guided meditation, she began her reading, which involved tarot cards, angel cards, chakra cards, and messages from the spirit world. She told Brown that she saw two past lives, one in which he was a warrior in ancient China and one, more recently, in which he was an artist. "You might not have been fully fulfilled as an artist," she said. "But you was in France, and you was an amazing artist. And what they showed me was you had one of those cravat things on. So I don't know what year it was, but it was very artistic, very Noël Coward-ish. Does that make sense?"
"Yeah, absolutely."
"So I don't know what you do for a living, but are you working with that creative energy this lifetime? Are you expressing it?"
"Yeah, I am."
"Right. So that's where they want you to go. So that's that."
A little later, she said, "Someone's just touched me on the head, and I've got a gentleman here who's trying to connect with you. He's put a cross up as well, in blue. Is there anyone in spirit or on the earth plane, please, who is currently in your life that's either to do with hospitals or doctors?"
"Um, my father."
"Right, so this gentleman will be connected with your father on the other side. Does your dad not always express his feelings? Does he try and whitewash over things?"
"He's not well at the moment."
"Stiff upper lip sometimes, but he doesn't always open up?"
"O.K., well, he needs to. Because he needs a lot of healing at the moment. Has there been any communication breakdowns around the family? If not with you lot, with him and his father?"
"No, I think it's more that he's not well, and he's finding it depressing. It's difficult. But he's good at always putting a happy face on."
"Yes, that's it."
Exploring a different tack, Chrissy said, "Right, you like nice things. So this is, like, artistic and everything, in your garden, so to speak. This could also represent beautifying the home, like moving, decorating, renovating. Are you doing anything like that? Are you thinking of doing anything like that? Or have you recently?"
"Thinking of moving, yes."
"Oh, right, so that's there as well. And it's beauty, it's beautifying."
After the session was over, we chatted with Chrissy in her living room. She seemed taken with Brown and asked about his work, which he described as "sort of mind reading, but from a magician's perspective." When she found out that he was performing at the Cliffs Pavilion, she was thrilled, having last been there to see the late comedian Ken Dodd. "He's in spirit now, isn't he? Another one that's gone," she said. "So you're just doing your magic, then? And it's like subliminal hypnosis?"
"Yeah, it's hypnosis and suggestion and mind reading and so on," Brown explained. "But it's definitely rooted in stuff that I could stop the video and point out, 'See, I'm doing that, and I'm doing that.' "
Chrissy's face fell for a moment, but she pressed on, asking, "So, obviously, you must be interested in the mystical side of things, mustn't you?"
"I'm interested in how it sort of blurs into other things and other people's take on it," Brown said. "And sometimes you end up at a similar point."
"The mind's an amazing thing, really, isn't it?" Chrissy said. "I personally believe that consciousness has got nothing to do with the mind. I mean, I've been out of my body three times. Unfortunately, I haven't got control over it—it happened involuntary with me. But, with what you do, do you feel that the consciousness has nothing to do with the mind?"
"Oh, I think we get a little too caught up in the self being this," Brown said, indicating his body. "And I think actually the self is something that naturally extends into our relationships with people and out into the physical world."
Before we left, Chrissy asked Brown to pose for a picture with her, and then she said, "I'm so sorry I didn't know who you are. But that's good, really, I think, isn't it? It allows me to be more myself, and that's all I ever can be. I'm not really into telly." She sighed. "To me, I'm in the world but not of the world, if that makes sense. To me, it's all the mystical stuff that's real."
"That there are things more important than us," Brown said, speaking in the soothing, measured tone he uses when putting someone into a hypnotic trance. Chrissy stood up and grasped Brown's hand, her eyes glistening. "It's the divine, isn't it?" she said. "Everything comes from source, and everything goes back to source."
As soon as we were outside, Brown started analyzing Chrissy's reading. She hadn't been specific enough to have employed so-called hot reading (using information secretly obtained beforehand). She certainly had been using cold reading, but he felt that she sincerely believed in her abilities. "She did refer to moving house and in the same breath 'a lot of decoration, a lot of interior décor.' So maybe she was picking up on a slightly gay vibe from me," he said. "If I was not who I am and had not been a step back from it, I might have gone, 'Fuck! Amazing!' "
He went on, "What role is she filling? On a basic level, we all like a bit of guidance and a bit of advice. But I think, more deeply, we all yearn for something that will kind of magically relieve our sense of isolation, and she's giving a lot of what we sort of want from our loved one."
A few days later, he was still thinking about Chrissy and her reading. "She had an aspiration for something beyond herself, which is wonderful, isn't it?" he said. "We all have it. I have it. And my rational, sort of cosmopolitan version may give me a snooty feeling of superiority sometimes over somebody's more suburban version, which is just very unpleasant of me. It's easy to be amused by, or put in brackets, somebody's attempts at transcendence that are different from our own, but we're all trying to find that thing that's bigger than ourselves. I really liked when she said, 'I'm in this world but not of this world.' It's lovely. I felt really sort of warm toward her, and you could sort of imagine people going back and having a chat. Though a little bit of ectoplasm would have been appreciated." ♦
Published in the print edition of the October 7, 2019, issue, with the headline "Belief System."
Adam Green, a contributing editor and theatre critic at Vogue, has written for The New Yorker since 1993.
More:MagiciansReadingsBroadwayTheatrePersuasionOne-Man Shows
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A Pickpocket's Tale
The spectacular thefts of Apollo Robbins.


Q: How much does Rocky get paid for his fight against Spider Rico?
Serious comments about the movie.
If there is a chance for you which can turn you from nobody to somebody, how would you treat it? Would you let it go pass because it is almost impossible to achieve or you want to use all you have to give it a great shot? This is what the movie about, how a struggling underdog became hero, legend or more. This is the one of my favorite movies. Because it has a simplest storyline but it successfully gave expression to it's theme-if you want to be on the top, you have to pay the price which means hardworking and determination A good movie must require an understandable storyline which clearly tells its theme. That is why I think rocky is a great movie. The movie is about the sudden life change of a struggling underdog boxer-Rocky, the world champion set up a fight between himself and Rocky, but he decided to give it the greatest shot just to prove that he is not a bum for a entertainment show. So basically, whole movie is about how Rocky trying so hard to achieve his goal: go the distance with the champion.
The acting of the film is another shinning point; it has many great actors in it. Especially the main actor Sylvester Stallone (Rocky) he made a great impression in my mind by his excellent pyrotechnic acting skill. In the famous fighting scene, Stallone performed an emotion of a boxer who is suffering from pain, frustration and exhaustion, but he is not giving up. The scene became so real because Stallone's incredible performance. Also, other actors like Burt Young (Pauline), Tailia Shire (Adrian) Burgess (Mickey) acted perfectly in the movie.
If there is anything else can highlight the movie that is the fantastic music used in the movie. Because the music played in the movie perfectly contributed to the atmosphere of each individual scene. E.g. when Rocky started his morning run, pumping up style music plays simultaneously while he is running, that generated a memorable scene. Also again in the fighting scene, a part of passionate and stirring background music played when rocky is trying so hard to stand on his feet, it has successfully reinforced the mood of the scene.


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Home › News › Broome, Australia: Sun Pictures Outdoor Cinema Within Film Actually the Beginning of it all for Writer
Broome, Australia: Sun Pictures Outdoor Cinema Within Film Actually the Beginning of it all for Writer
by Caleb Mitchell January 25, 2010
. Move over Baz Luhrmann. With a fraction of the budget, less digital wizardry and even more unbridled joy, Bran Nue Dae does for the Kimberley what Australia the movie couldn't: shows off its famous turquoise bits and calls its star town by its own name. The east Kimberley formed much of Australia's sweeping backdrop but was passed off as the Northern Territory.
By contrast, Bran Nue Dae was filmed and set where its spirit lies, in the north-western town of Broome.
Tourism operators in the subtropical holiday idyll couldn't have bought the publicity. The film mentions the word "Broome" with alacrity - I lost count somewhere near 27 - and showcases the iconic landscape of the Kimberley coast, as well as its multicultural liveliness.
"Filming in Broome added a million dollars to the budget but we couldn't have filmed anywhere else," says director Rachel Perkins, of the small-budget musical based on Jimmy Chi's stage play of the 1990s. "Broome is so distinctive - the reds, the blues, the corrugated iron and the old pearling masters' homes. We were lucky to find a lot of locations fairly unchanged since the 1960s, when the story is set."
The film charts a 2000-kilometre journey between Perth and Broome but cinephile tourists keen to walk in the filmmakers' footsteps need not dust off the Kombi to do so.
Apart from some scenes shot in Perth and Fremantle and the bit where a dewy-eyed Missy Higgins serenades her German beau at an anonymous watering hole (it's Molly Springs near Kununurra), most of the filming was done within a tidy radius of Broome.
So if you're looking for the "Port Hedland" eatery Tong's Chinese, where Deborah Mailman's character seduces the film's young lead, Willie (Rocky McKenzie), look no further than Napier Terrace on the edge of Broome's Chinatown. Further seduction beneath the whimsically adorned "Condom Tree" was shot at Roebuck Plains Station, north of town. "Every young bloke ends up at the Condom Tree," insists Ernie Dingo's character, launching a Kimberley myth.
Nothing had to be done to the boxy, charmingly uncharming Tong's to recreate a 1960s feel. On the other hand, the Roebuck Hotel - scene of Jessica Mauboy's bluesy solos and a series of all-in musical knees-ups - is too altered to pass as the rustic pub of Jimmy Chi's adolescence (wet T-shirt competitions are part of its contemporary charm).
Ironically, the filmic stand-in was the town's boutique brewery, Matso's, the timber interior of which retains a nostalgic vibe (perhaps it's the legendary ginger beer). Exterior shots were filmed at a heritage-listed pearling shed dressed for the period. Find it on Hamersley Street overlooking Roebuck Bay, just down from Matso's.
Bran Nue Dae pilgrims will certainly spend an evening at Sun Pictures, Broome's outdoor cinema and Australia's oldest picture garden.
Scene of a monsoonal downpour early in the film, the nostalgia-riddled cinema, where geckos, bats and passing jet planes contribute to the ambience, is the same one in which Jimmy Chi devoured musical films as an adolescent, inspiring story.
Few travel to Broome and fail to visit Cable Beach, so even unwitting visitors will get a glimpse of the site of the film's comic finale. The wide tidal beach and cobalt-blue water are unmistakeable. But beach scouting was a rigorous part of pre-production and Gantheaume Point, the dazzling pinnacle at the southern end of Cable Beach, landed a role without even trying.
"People come to Cable Beach and think they've seen the beach in Broome," Perkins says. "But Gantheaume Point is a whole other story. We just had to include that amazing contrast of aqua water and bright-red sand."
Gantheaume Point, home to dinosaur footprints and Anastasia's Pool (dug from stone by a lighthouse keeper for his arthritic wife), feature in flashback sequences and wherever impossibly blue water is seen.
Perkins felt similarly drawn to the church at Beagle Bay, an Aboriginal community on the Dampier Peninsula north of Broome. "It so demanded to be in the film," she says of the church, whose striking altar is made of mother of pearl shell. The three-hour, four-wheel-drive trek stretched the film's budget but the pilgrimage remains one of Perkins' recommendations for Bran Nue Dae groupies.
The low budget was no foil for serendipity on the film shoot. With a week to go before filming and no location secured for gun-toting, lascivious Magda Szubanski's service station, a perfect venue sporting a For Lease sign materialised on Walcott Street. A certain seedy star quality now lingers at the disused servo in the wake of Szubanski's lewd ways with hot Chiko Rolls.
In the absence of a cashed-up art department (no vintage Prada luggage here), the friends of cast and crew chipped in with wardrobes, kitchen utensils and bric-a-brac to flesh out this and other sets.
Crew member Arnhem Hunter gave his blessing to use his late father's old house at Morgans Camp. Off Chapple Street in Chinatown (rubberneckers can visit - there are no doors), the house was the place where the young lead and his mother (Ningali Lawford-Wolf) shared a home. Look closely at the meal-time scenes for another sign of kismet. The table came straight out of Chi's kitchen.
If you can't visit a local's house in Broome, this could be the next best thing. It's got history (the ceiling rails were once used to hang pearl-diving suits), character (corrugated iron and natural ventilation) and tribal significance (it was gifted to a Bardi law man by the Yaru people). Besides which, you don't have to go far to glimpse the legendary turquoise, white and red trifecta that makes its setting worthy of the big screen.
Megan Anderson
source-http://www.smh.com.au/travel/red-blue-and-nue-all-over-20100125-mtrk.html

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Also on the Malibu Pier -- the sleepier cousin of its amusement-ride-filled Santa Monica counterpart -- is the new MALIBU PIER RESTAURANT & BAR (23000 PCH), overseen by chef Jason Fullilove, formerly of Campanile. The restaurant occupies the space that once housed Alice's, The Beachcomber Cafe and Ruby's Shake Shack; its bar has taken over the boathouse. Both spaces have been reimagined by visual consultant Joshua Klein, who cut his teeth at Ralph Lauren. "I think outsiders have a perception of Malibu that is glitzier than its actual rugged charm, so I needed to keep the experience organic." Look for an Ed Ruscha anchor print, a Richard Phillips surfboard and Dennis Hopper photos. "You feel like you are back east in Nantucket or Martha's Vineyard," says Jodi Guber Brufsky, founder of activewear brand Beyond Yoga. "It's got great food and atmosphere."


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Parish Mass Times
St Michael's Parish
Keep updated with the
Latest News, Mass Times
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From the desk of Father Geoff
VIDEO HOMILIES
Visit my Youtube channel to view all my homilies and talks: https://www.youtube.com/user/GeoffreyPlant2066
Homily for the 2nd Sunday in Ordinary Time, Year B: https://youtu.be/hljcdCyQ9LA
Homily for the Baptism of the Lord: https://youtu.be/rToDkacejz4
Homily for the feast of the Holy Family: https://youtu.be/-4jKDtEPUC8
Homily for Christmas Day: https://youtu.be/69FvLz65r7o
Homily for the 4th Sunday of Advent, Year B: https://youtu.be/ODIJ_d14uv0
Homily for the 3rd Sunday of Advent, Year B: https://youtu.be/Q8pKWOPGOmQ
Homily for the 2nd Sunday of Advent, Year B: https://youtu.be/OAhy_H3cIys
Homily for the 1st Sunday of Advent, Year B: https://youtu.be/PCQfMpn2na4
Homily for the Solemnity of Christ the King, Year A: https://youtu.be/tFvViGE_P8s
Homily for the 33rd Sunday in Ordinary Time, Year A: https://youtu.be/bbyGJTLuES4
Homily for the 32nd Sunday in Ordinary Time, Year A: https://youtu.be/-558d6yKhnI
Homily for the Solemnity of All Saints: https://youtu.be/SsXydi00Ul8
Homily for the 30th Sunday in Ordinary Time, Year A: https://youtu.be/VV7qRFKALpY
Homily for the 29th Sunday in Ordinary Time, Year A: https://youtu.be/xRD4Y5AY5aI
Homily for the 28th Sunday in Ordinary Time, Year A: https://youtu.be/bPlzPHntvBo
Homily for the 27th Sunday in Ordinary Time, Year A: https://youtu.be/C9WRsWyO-Hk
Homily for the Sacrament of Confirmation: https://youtu.be/wDMFniEMKMQ
Homily for the 26th Sunday in Ordinary Time, Year A: https://youtu.be/ViWplSs7FZM
Homily for the 25th Sunday in Ordinary Time, Year A: https://youtu.be/iohwY1-9PYE
Homily for the 24th Sunday in Ordinary Time, Year A: https://youtu.be/UyCmuJalBUE
Homily for the 23rd Sunday in Ordinary Time, Year A: https://youtu.be/HzjUV0El7Cw
Homily for the 22nd Sunday in Ordinary Time, Year A: https://youtu.be/pE-E7i7EdtM
Homily for the 21st Sunday in Ordinary Time, Year A: https://youtu.be/FCzW_zvQpnk
Homily for the 20th Sunday in Ordinary Time, Year A: https://youtu.be/8VKfLKQfD6E
Homily for the 19th Sunday in Ordinary Time, Year A: https://youtu.be/hNUofW1p9tk
Homily for the 18th Sunday in Ordinary Time, Year A: https://youtu.be/Mk7LXPHDeH4
Homily for the 17th Sunday in Ordinary Time, Year A: https://youtu.be/83Q0gSuwSwY
Homily for the 16th Sunday in Ordinary Time, Year A: https://youtu.be/HKCHaGxI_TU
Homily for the 15th Sunday in Ordinary Time, Year A: https://youtu.be/tZT936NCB6I
Homily for the 14th Sunday in Ordinary Time, Year A: https://youtu.be/fgd7z7pqA5s
Homily for the 13th Sunday in Ordinary Time, Year A: https://youtu.be/vmn8njCdGvU
Homily for the 12th Sunday in Ordinary Time, Year A: https://youtu.be/IcA0NttuEPQ
Homily for the feast of the Most Holy Body and Blood of Christ: https://youtu.be/oC955mi0QSs
Homily for the feast of the Most Holy Trinity: https://youtu.be/6zunvkfW84w
Homily for the feast of Pentecost, Year A: https://youtu.be/Wf8Gy8Se2Pg
Homily for the feast of the Ascension, Year A: https://youtu.be/fW37T8vWuRs
Homily for the 6th Sunday of Easter, Year A: https://youtu.be/AqKVgLwx6pw
Homily for the 5th Sunday of Easter, Year A: https://youtu.be/Ym21SRbuQjA
Homily for the 4th Sunday of Easte, Year Ar: https://youtu.be/IYUwYUXIBU8
Homily for the Baptism of the Lord, Year A: https://youtu.be/GKAHhmV68n0
Homily for the feast of the Epiphany:, Year A https://youtu.be/GkS9OwH2ijA
Homily for the Feast of the Holy Family, Year A: https://youtu.be/y1N1H3iN1ME
Homily for Christmas Day: https://youtu.be/MCwJeo5HAQQ
Homily for the 4th Sunday of Advent, Year A: https://youtu.be/rFeetdyM9j8
Homily for the 3rd Sunday of Advent, Year A: https://youtu.be/DHSZs6zJ6v4
Homily for the 2nd Sunday of Advent, Year A: https://youtu.be/P4xp5Bl2xY8
Homily for the 1st Sunday of Advent, Year A: https://youtu.be/fRvDmUAD_wM
Homily for the feast of Christ the King, Year C: https://youtu.be/84O-GYGwTT0
Homily for the 33rd Sunday in Ordinary Time, Year C: https://youtu.be/2d-yTr3z698
Homily for the 32nd Sunday in Ordinary Time, Year C: https://youtu.be/eayvwE76Mt0
Homily for the 31st Sunday in Ordinary Time, Year C: https://youtu.be/6UH7RKGSuHA
Homily for the 30th Sunday in Ordinary Time, Year C: https://youtu.be/eLFEwqs2JjA
Homily for the 29th Sunday in Ordinary Time, Year C: https://youtu.be/PSaELvsz7h8
Homily for the 28th Sunday in Ordinary Time, Year C: https://youtu.be/vvasJ-h9_TU
Homily for the 27th Sunday in Ordinary Time, Year C: https://youtu.be/D5jncYDiXdM
Homily for the 26th Sunday in Ordinary Time, Year C: https://youtu.be/FnwCXENmY-U
Homily for the 25th Sunday in Ordinary Time, Year C: https://youtu.be/GtXowk7TrIA
Homily for the 24th Sunday in Ordinary Time, Year C: https://youtu.be/tX-PWubOHzA
Homily for the 23rd Sunday in Ordinary Time, Year C: https://youtu.be/tlwnIzjDfLg
Homily for the 22nd Sunday in Ordinary Time, Year C: https://youtu.be/NdFScmfbPLY
Homily for the 21st Sunday in Ordinary Time, Year C: https://youtu.be/c-qRb_vneaI
Homily for the 20th Sunday in Ordinary Time, Year C: https://youtu.be/uayv-RIqZs4
Homily for the 19th Sunday in Ordinary Time, Year C: https://youtu.be/8C3qPA1lNms
Homily for the 18th Sunday in Ordinary Time, Year C: https://youtu.be/tjyVkMY0pus
Homily for the 17th Sunday in Ordinary Time, Year C: https://youtu.be/-oBsAVBtmXI
Homily for the 16th Sunday in Ordinary Time, Year C: https://youtu.be/9n-vACD3bGU
Homily for the 15th Sunday in Ordinary Time, Year C: https://youtu.be/7tIma-A5rHQ
Homily for the 14th Sunday in Ordinary Time, Year C: https://youtu.be/0Z8RqVSb-Iw
Homily for the 13th Sunday in Ordinary Time, Year C: https://youtu.be/e8g00Fs08qU
Homily for the Body and Blood of Christ, Year C: https://youtu.be/u9rR23ZOMP8
Homily for the feast of the Most Holy Trinity: https://youtu.be/IfMrnyKxAEs
Homily for the feast of Pentecost: https://youtu.be/5XjxcuQs_CU
Homily for the Ascension of the Lord: https://youtu.be/GCwuV4aikQA
Homily for the 6th Sunday of Easter: https://youtu.be/_t4nOsugteA
Homily for the 5th Sunday of Easter: https://youtu.be/LFiIS3b1WSY
Homily for the 4th Sunday of Easter: https://youtu.be/pfGjQF45bxI
Homily for the 3rd Sunday of Easter: https://youtu.be/f-2ou9ZKLWQ
Homily for the 2nd Sunday of Easter: https://youtu.be/eT7147VmPwQ
Homily for Easter Sunday: https://youtu.be/ZcsJ5F7-wcE
Homily for Good Friday: https://youtu.be/43N4MebI7cE
Homily for Holy Thursday: https://youtu.be/eGzMbWM2Rsw
Homily for Palm Sunday: https://youtu.be/80P40_FLpJg
Homily for the 5th Sunday of Lent, Year C: https://youtu.be/QRwreJWuk_E
Homily for the 4th Sunday of Lent, Year C: https://youtu.be/O7fRJSUXmp0
Homily for the 3rd Sunday of Lent, Year C: https://youtu.be/GdYsjSjdpQQ
Homily for the 2nd Sunday of Lent, Year C: https://youtu.be/fdtD68GYtzc
Homily for the 1st Sunday of Lent, Year C: https://youtu.be/1M4X3UMuWCQ
Homily for the 8th Sunday of Ordinary Time, Year C: https://youtu.be/jCyiyy28CXI
Homily for the 7th Sunday of Ordinary Time, Year C: https://youtu.be/xj3QcggPT54
Homily for the 6th Sunday of Ordinary Time, Year C: https://youtu.be/OB0L2Y7rqdM
Homily for the 5th Sunday of Ordinary Time, Year C: https://youtu.be/Ywj6BT59X6I
Homily for the 4th Sunday of Ordinary Time, Year C: https://youtu.be/m8U5OgpgFZ8
Homily for the 3rd Sunday of Ordinary Time, Year C: https://youtu.be/_mEVhjgRPVU
Homily for the 2nd Sunday of Ordinary Time, Year C: https://youtu.be/rBQFmFDfa6Y
Homily for the Baptism of the Lord: https://youtu.be/jAbAh57XGBY
Homily for the Feast of the Epiphany: https://youtu.be/BdffOB_ZcaA
Homily for the Feast of the Holy Family: https://youtu.be/yMFf9LBBkUU
Homily for Christmas: https://youtu.be/AfR1ALu5Ycc
Homily for the 4th Sunday of Advent, Year C: https://youtu.be/xysZv3RKZ2E
Homily for the 3rd Sunday of Advent, Year C: https://youtu.be/FLRGH_CSpBQ
Homily for the 2nd Sunday of Advent, Year C: https://youtu.be/44-z9tMrkHQ
Homily for the 1st Sunday of Advent, Year C: https://youtu.be/vnVANxH66R0
Homily for Ordinary Time, Week 33, Year B: https://youtu.be/kWsdbFNFjiw
Homily for Ordinary Time, Week 32, Year B: https://youtu.be/GG1g9H6v1kM
Homily for Ordinary Time, Week 31, Year B: https://youtu.be/CapTRz-8lzE
Homily for Ordinary Time, Week 30, Year B: https://youtu.be/0h8_kiG2MpM
Homily for Ordinary Time, Week 29, Year B: https://youtu.be/Iyiva78uQXM
Homily for Ordinary Time, Week 28, Year B: https://youtu.be/ZGzoMhLun7M
Homily for Ordinary Time, Week 27, Year B: https://youtu.be/YEBtiRBHaNI
Homily for Ordinary Time, Week 26, Year B: https://youtu.be/w3__T8Beplw
Homily for Ordinary Time, Week 25, Year B: https://youtu.be/psmva9bVf_c
Homily for Ordinary Time, Week 24, Year B: https://youtu.be/X8XkPosXRQg
Homily for Ordinary Time, Week 23, Year B: https://youtu.be/7kX3oLFFU0Q
Homily for Ordinary Time, Week 22, Year B: https://youtu.be/MmK6S5IcWY8
Homily for Ordinary Time, Week 21, Year B: https://youtu.be/478e8fPVPdc
Homily for Ordinary Time, Week 20, Year B: https://youtu.be/bOGWarbeOAw
Homily for Ordinary Time, Week 19, Year B: https://youtu.be/_iM7ilntbUI
Homily for Ordinary Time, Week 18, Year B: https://youtu.be/muobSKr0xqg
Homily for Ordinary Time, Week 17, Year B: https://youtu.be/90iuJH7y6kU
Homily for Ordinary Time, Week 16, Year B: https://www.youtube.com/watch?v=z9Zcxj76nGg
Homily for Ordinary Time, Week 15, Year B: https://youtu.be/ARuuGAbEPqE
Homily for Ordinary Time, Week 14, Year B: https://youtu.be/AHTVX8lW-7s
Homily for Ordinary Time, Week 13, Year B: https://youtu.be/gi3isHJQqJk
Homily for the Birth of St John the Baptist, Year B: https://youtu.be/lh6rGhzo6L0
Homily for Ordinary Time, Week 11, Year B: https://youtu.be/2ff298sWc78
Homily for Ordinary Time, Week 10, Year B: https://youtu.be/4rGyZHWJyOI
Homily for the Feast of the Body and Blood of Christ, Year B: https://youtu.be/vA9xvgCukJE
Homily for the Feast of the Most Holy Trinity, Year B: https://youtu.be/B5NoHJVw4M8
Homily for the Feast of Pentecost, Year B: https://youtu.be/VKBP2e1obb8
Homily for the Feast of the Ascension of the Lord, Year B: https://youtu.be/fTIv3qyFAXY
Homily for the 6th Sunday of Easter, Year B: https://youtu.be/y823x66m-VU
Homily for the 5th Sunday of Easter, Year B: https://youtu.be/-1_A-0Xm4e0
Homily for the 4th Sunday of Easter, Year B: https://youtu.be/96Mkhy5KFXc
Homily for the 3rd Sunday of Easter, Year B: https://youtu.be/QSpLuds7Ca4
Homily for the 2nd Sunday of Easter, Year B: https://youtu.be/Tvo0hgp5oUo
Homily for Easter Sunday, Year B: https://youtu.be/r1eoXOAxQ4w
Homily for Passion (Palm) Sunday, Year B: https://youtu.be/4EoSQj7Vtr4
Homily for the 5th Sunday of Lent, Year B: https://youtu.be/LxcDcKobB0o
Homily for the 4th Sunday of Lent, Year B: https://youtu.be/bssQIRorz_M
Homily for the 3rd Sunday of Lent, Year B: https://youtu.be/Z2Unk2HKPuE
Homily for the 2nd Sunday of Lent, Year B: https://youtu.be/wvj1FjMLitY
Homily for the 1st Sunday of Lent, Year B: https://youtu.be/iWrJ0sEVCZY
Homily for the 6th Sunday in Ordinary Time, Year B: https://youtu.be/DygwhoOOrtc
Homily for the 5th Sunday in Ordinary Time, Year B: https://youtu.be/yMRCXhxoGxE
Homily for the 4th Sunday in Ordinary Time, Year B: https://youtu.be/_SbuCLgos5M
Homily for the 3rd Sunday in Ordinary Time, Year B: https://youtu.be/-79JHny8dbA
Homily for the 2nd Sunday in Ordinary Time, Year B: https://youtu.be/KbGfSitfFkM
Homily for the Feast of the Epiphany, Year B: https://youtu.be/wEZgWSIRAK0
Homily for the Feast of the Holy Family, Year B: https://youtu.be/Rbrw_dMpFoI
A Christmas Reflection: Why do we celebrate Christmas on December 25?: https://youtu.be/9XjxtdwRjN8
Homily for the 4th Sunday of Advent, Year B: https://youtu.be/XZws5JhB3nY
Homily for the 3rd Sunday of Advent, Year B: https://youtu.be/IKnprYVqCvg
Homily for the 2nd Sunday of Advent, Year B: https://youtu.be/-L7VSgDKSiQ
Homily for the 1st Sunday of Advent, Year B: https://youtu.be/zG1sn6j7j84
I'm currently working on a series of introductory talks on the Bible. They are designed for people who are unfamiliar with the Bible, or for those who would like a refresher course.
Talk 1 asks the basic question, "Why do we need a sacred text like the Bible?" To watch Talk 1, click here: http://bit.ly/1AwZDfM
Talk 2 looks at the importance of story. Each of us has a story, and our story consists of all the people, places and events that make us the unique individual that we are. To lose our story is to lose our identity. To watch Talk 2, click here: http://youtu.be/6Ze7OkLmgdA
The Christian Bible is made up of the Old and New Testaments. Talk 3 takes a look at the Old Testament. What's in the Old Testament, and what kind of literature are we dealing with? To watch Talk 3, click here: http://youtu.be/_rnkohhp94k
Talks 4 and 5 look at the New Testament. What's in the New Testament, and who finally decided which books would be included in the New Testament? To watch Talk 4, click here: http://youtu.be/Rg41oHGrOhM To watch Talk 5, click here: http://youtu.be/5kA0oXYmYA8
Talk 6 look at the historical background of the biblical story. There is no text without context, so what is the historical context of the biblical story. Click here to watch Talk 6: http://youtu.be/Btt0P7axkNs
Talk 7 offers an overview of the four gospels. What is a gospel and why were the gospels written? What's in the gospels? Click here to watch Talk 7: https://youtu.be/hUKRCLiXgAU
TALK 1: I'm currently working on a series of talks that looks at key New Testament words as we find them in the Greek New Testament. When we read the New Testament in English we are reading it in translation. The New Testament was written in Koine Greek, the popular or common form of the Greek language spoken from around 300 BC until about 300 AD. The Italians have a saying, Traduttore Traditore - the translator is a traitor. There's nothing sinister implied in that saying; it cleverly highlights the difficult task confronting any translator. How do you express in English the full dynamism of a text written in another language, in this case the Koine Greek? Each talk in this series will look at key New Testament word in the Greek New Testament and try to see how it was used and understood in its original first century context. Click here to watch Talk 1:http://youtu.be/i5e9tuRiREI
TALK 2: The Greek Alphabet. Since each talk in this series focuses on a key word from the Greek New Testament, it would be helpful to learn the Greek alphabet. This talk offers a basic introduction to the Greek alphabet, as it would have been pronounced in koine Greek. Click here to watch Talk 2: http://youtu.be/mup7vQv4YLM
TALK 3: New Testament Words: Ἰησοῦς (Iesous-Jesus). The name Ἰησοῦς (Iesous) is a Greek translation of the Hebrew name Yehoshua. Our pronunciation, Jesus, comes to us from the Greek via the Latin, Iesus. Click here to watch Talk 3: http://youtu.be/c0XpsgcuJ9E
TALK 4: New Testament Words: Χριστός (Christos - Christ). What does the word Christ mean, and what does it mean to call Jesus the Christ? Click here to watch Talk 4: http://youtu.be/ZccVrWlfhWU
TALK 5: New Testament Words: Ἀρχηγὸς (Archegos). A title given to Jesus, but found only four times in the New Testament. Click here to watch Talk 5: http://youtu.be/9PZgedon6ik
TALK 6: New Testament Words: Tέκτων (tektōn). In Mark's gospel we learn that Jesus was a tektōn, a word that most bibles translate as carpenter. What did it mean to be a tektōn in first century Palestine? Click here to watch Talk 6: http://youtu.be/YxFzvg9amks
TALK 7: New Testament Words: Mετάνοια (metanoia). Metanoia is usually translated as "repentance", but what does that mean? Click here to watch Talk 7: http://youtu.be/CbW47nvJ4bQ
TALK 8: New Testament Words: Παράκλητος (paraklētos). Jesus is called a Paraklētos as is the Holy Spirit. We don't have an exact equivalent in English, which is why some translations use the word Paraclete. What does the word mean, and what is it saying about Jesus and the Holy Spirit? Click here to watch Talk 8: http://youtu.be/wmq_YaNjxu0
TALK 9: New Testament Words: εὐαγγέλιον (euangelion). Our English word Gospel is a translation of the Greek εὐαγγέλιον (euangelion) which means "good news". Click here to watch Talk 9: http://youtu.be/iU7VKCj7iZo
This talk is an introduction to Christian meditation. Because we're constantly thinking about one thing or another, our mind is often likened to a tree full of noisy, playful monkeys. This form of meditation, using a prayer word or mantra, seeks to still the mind and rest in silence in the presence of God. Click here if you'd like to learn more about Christian meditation: http://bit.ly/1rEmC3I
WHO IS THE POPE?
When Pope Benedict resigned I prepared this talk about the election of a pope. Who is the pope, how is he elected, and by whom? If you'd like to learn more, click here: http://bit.ly/1qKv83u
Walking the Camino from Leon to Santiago de Compostela
A number of parishioners joined me in 2014 to walk the Camino from Leon to Santiago de Compostela. Click here to view a photographic meditation of our pilgrimage: http://youtu.be/dgKS79tsH1Q
A Photographic meditation on Gethsemani Abbey
In 2011 I made a two weeks' retreat at Gethsemani Abbey in Kentucky, USA. Gethsemani was the Cistercian abbey where Thomas Merton lived, and this year is the 100th anniversary of his birth. Clink on the link to view my meditation on Gethsemani, including my visit to Thomas Merton's hermitage in the grounds of the monastery. The background music comes from the Benedictine monks of Santo Domingo de Silos. Here's the link: http://youtu.be/PyWeMwafPwA
From Atheist to Catholic
I'd like you to meet Jennifer Fulwiler. Jennifer grew up an atheist and was received into the Catholic Church in 2007, along with her husband. She tells the story of of her conversion in her book Something Other than God. (You can buy it through Fishpond - $28.92, postage free). Hear something of her story at https://www.youtube.com/watch?v=UZ9vGKfZJCE (Note: the audio is a little soft). Another link to a lecture in which she also tells her story can be found at: https://www.youtube.com/watch?v=Z_Ab6l0q784 In these talks Jennifer talks about her personal journey from atheism to Christianity, and more specifically, to Catholicism. You can also check out her website: http://jenniferfulwiler.com/
WORTH WATCHING!
Fr James Martin SJ has an interesting series on the saints entitled "Who cares about the saints?" Each episode is a brief (about 10 minutes) overview of the life of a saint, such as St Francis of Assisi, or St Ignatius. But Fr Martin also profiles the lives of other people who are not yet saints, such as Thomas Merton and Dorothy Day. So, have a look:
Our Lady: https://www.youtube.com/watch?v=LJgiK9PTtwg
St Joseph: https://www.youtube.com/watch?v=Gm1rUs39XWY
Pope Saint John XXIII: http://bit.ly/1tuFnsJ
St Francis of Assisi: http://bit.ly/1lUMFqY
Dorothy Day: http://bit.ly/1uk4HnR
Thomas Merton: http://bit.ly/1iTR8Yw
Mother Teresa: http://bit.ly/1uHZy7n
St Peter: http://bit.ly/1wfCtdh
St Joan of Arc: http://bit.ly/1qfZb5w
St Bernadette: http://bit.ly/1tJjVnI
St Ignatius: https://www.youtube.com/watch?v=h4ZLuk_X8u0
Anglican Scripture scholar and bishop, N.T. (Tom) Wright presents an excellent program on the resurrection of Jesus. https://www.youtube.com/watch?v=zqc7--CaCpM
SPIRITUALITY AND THE DIFFERENT STAGES OF LIFE: ONE SIZE DOESN'T FIT ALL
A talk by Fr ronald Rolheiser OMI. http://bit.ly/1tJjVUw
LATEST COVID REGULATIONS
Churches are now restricted to 100 people. It is therefore essential to book beforehand to attend Mass at St Michael's or the Greenwich chapel. Worshippers must now also wear face masks. Face masks are compulsory from midnight, January 2. You will be able to make bookings for St Michael's through the parish office 9427 2034, or if the parish office is unattended, contact Fr Geoffrey on his mobile (0407 297 042). You can book for the Greenwich chapel by contacting Catherine Briggs on 0415 919 948.
The Rite of Christian Initiation of Adults (RCIA) is designed for adults who are interested in finding out more about the Catholic faith. It is for people who have never been baptised, but it also welcomes baptised members of other Christian denominations. We meet once a week for about an hour. These weekly meetings include talks on the central beliefs of the Catholic Church, but they also allow for questions and discussion
Archbishop Anthony Fisher's Pastoral Letter 2 July 2020
Please find the Archbishop's most recent pastoral letter following further relaxation of restrictions during the COVID-19 pandemic.
Link to letter
Masses at Greenwich Chapel
Weekday Masses: 8.30 am.
Sunday: Masses at 8 am and 9.30 am.
To attend Sunday Mass you MUST BOOK BEFOREHAND by contacting Catherine Briggs. Her mobile number is: 0415 919 948. Please do not turn up for Mass without first having made a booking.
Mass at St Ignatius College Chapel
The College campus is currently in lockdown, so it is not possible to have the regular Sunday morning Mass at Riverview for the time being. We'll keep you posted via the website once we are able to resume Masses at Riverview.
Archbishop Anthony Fisher's COVID-19 Update as at 30 March 2020
Archbishop Anthony Fisher OP has responded to new government restrictions on gatherings with his third Pastoral Letter.
Watch Mass live, links on Archdiocese of Sydney website
Link to website page
Catholic Weekly now available online at this link
Diary Cancellations
Sunday Children's Liturgy has been cancelled until further notice.
The Parish morning tea scheduled for 29th March and the Palm Sunday morning tea and activities have been cancelled.
NSW Government legislation requires people working with Children to obtain a Working With Children Check. The Archdiocese has recently extended this requirement to include parishioners who are readers at Mass, Ministers of the Eucharist, Ministers to the Sick, Wardens, Senior Servers, Sacristans, Choir members, Musicians and singers.
Volunteers who require a WWC are also required to complete and sign a volunteer registration and code of conduct form. An online training course comprising 2x20 minute sessions also needs to be undertaken - an email will be sent out in the next few weeks.
If you are involved in any of these ministries - at St Michaels, Riverview or Greenwich - and do not yet have your WWC check, please go to the Parish website for further information.
A copy of the Archdiocese Fact Sheet, Guidelines and Frequently Asked Questions on the Working with Children Check is on the Parish Noticeboard.
Parish 2020 Survey Report
The results of the Parish 2020 survey are complete and can be viewed on the link below. Our response rate was commendable and we thank those who took the time to complete the survey, your valuable input will help shape the planning process of our parish.
To recap, this survey was part of the Pastoral Plan for our Archdiocese. People were asked to participate and provide their input on their parish experience, parish priorities and ways to grow and strengthen our community.
The formal Parish 2020 process will continue to address archdiocesan wide issues with deanery based focus groups commencing in the near future. In the meantime, equipped with the data from our Parish survey, our team will be working to introduce new ways to improve pastoral care and strengthen our ministry.
We hope you will take the time to review our results.
http://www.lanecoveparish.org.au/images/Lane-Cove-Survey-Profile.pdf
Pope Francis' Post-Synodal Apostolic Exhortation
That's a bit of a mouthful, but Pope Francis has just released this document, titled in Latin Amoris Laetitia (The Joy of Love), on marriage and the family. Amoris Laetitia gathers together the contributions of the two Synods on the family convoked by Pope Francis in 2014 and 2015, and draws on a long history of Church teaching. Click here to read Pope Francis' Post-Synodal Apostolic Exhortation on Love in the Family: http://w2.vatican.va/content/francesco/en/apost_exhortations/documents/papa-francesco_esortazione-ap_20160319_amoris-laetitia.html
Social Justice Update - Teresa House Homeless Shelter
We now have over sixty people who have volunteered, which will guarantee the success of opening Teresa House on a Thursday night. Current numbers indicate that any volunteers will only need to commit to once every three months for either the dinner or the night shift, which is fantastic. If you wish to find out more you can contact This email address is being protected from spambots. You need JavaScript enabled to view it. as it is not too late to get involved.
Archbishop's Pastoral Letter for the Consecrated Life
Copies of Archbishop Fisher's pastoral letter for the Year of Consecrated Life are available in the foyer of the church. Alternatively, you can watch the Archbishop deliver his message on Youtube. Click here: https://youtu.be/O-yDId_Wsy4
Social Justice Statement
The Australian Catholic Bishops annual Social Justice Statement for 2015-16 is For Those Who've Come Across the Seas: Justice for refugees an asylum seekers. For those interested you can access the statement and information on actions we can take at http://www.socialjustice.catholic.org.au/publications/social-justice-statements#SJS2015
Pope Francis' Encyclical on the Environment
Pope Francis has just released an Encyclical on the environment, Laudato Si'. The name of this encyclical comes from its opening words, "Laudato si' mi' Signore" (Praise be to you, my Lord). In the words of this beautiful canticle, St Francis of Assisi reminds us that our common home (planet Earth) is like a sister with whom we share our life and a beautiful mother who opens her arms to embrace us. "Praise be to you, my Lord, through our Sister, Mother Earth, who sustains and governs us, and who produces various fruit with coloured flowers and herbs." Pope Francis makes the point that "this sister now cries out to us because of the harm we have inflicted on her by our irresponsible use and abuse of the goods with which God has endowed her." To read Pope Francis' Encyclical on the Environment (Laudato Si'), click here: http://w2.vatican.va/content/francesco/en/encyclicals/documents/papa-francesco_20150524_enciclica-laudato-si.html
WORKING WITH CHILDREN CHECKS
All parishioners who have a parish ministry that involves working with children must obtain a Working with Children Check number. At St Michael's this means: Catechists, those helping with children's liturgy, and senior servers. People who do not have a WWW check number will not be able to work with children. Because you work on a volunteer basis, there is no charge. Paid employees must pay an $80 fee.
Step 1: This is an online process. The website that you must go to is: www.newcheck.kids.nsw.gov.au
Step 2: Once you have accessed the website, click on "Start Here". You go to the "For individuals" section (not "For employers"), and click on "Apply". That will open up the online application form which will ask you for your personal details. It takes about 5 to 10 minutes to complete the form. The information you give on this form must match your "proof of identity" document (e.g. your driver's licence). In the section, "purpose for the check", make sure you click "volunteer".
Step 3: You will receive an application receipt number, beginning with APP.
Step 4: You must then go to a Motor Registry Office with your APP number and proof of identity (e.g. a NSW driver's licence).
Step 5: The parish must then verify that you have received a Working With Children Check Number. Your check will be valid for five years.
If you have any questions, please contact the parish office.
Parish Annual Report
Arranging a Baptism
Arranging a Wedding
RCIA (Rite of Christian Initiation of Adults)
Weekend Mass Times
St Michael's Church, Lane Cove
Vigil (Saturday) - 6pm
Sunday - 9:30am & 6pm
Mary Help of Christians Chapel, Greenwich
Sunday - 8am
Saint Ignatius' Chapel, Riverview
Sunday - 7:30am
© St Michael's Parish Lane Cove
St Michael's Parish | 204 Longueville Rd, Lane Cove NSW 2066 | Ph: 02 9427 2034
Website proudly designed by D+M, a community project.


if you hear Harley Davidson immediately imagined in your mind we are a big, handsome and macho motorbike. And almost all men want to have a motorbike with this Harley Davidson And Jeep Wrangler brand. Well before you propose Harley Davidson as your ride, you should first know the various types of Harley Davidson. It has divided into 7 models: Touring, Cruiser, Buell, Softail, Dyna, Sportster and Vrod. Where the models are distinguished based on the frame, engine, suspension, and other characteristics.
Sometimes this Harley Davidson is often referred to as "Baggers", the MOGE Harley Touring is actually designed to be ready for long trips. If you are planning to take this model for long distance travel then this type is the most suitable compared to the Cruiser model. When choosing a touring motor, weight/weight/ load is something to consider. Harley touring models will still make you comfortable driving even though it is worn for hours on a motorcycle seat. Touring motors can weigh up to 400 kg if all are fully installed.
This Harley Dyna is known as "rubber mount" because the Dyna type model has two shock breakers on the back. Harley Davidson And Jeep Wrangler the most significant difference with the other types is the HD Dyna has a rubber on the engine that serves to reduce vibration on the engine. This Harley Dyna is very suitable as a daily motorbike in the capital. Harley Davidson has also developed a sports type motorbike that has long been known, namely the Sportster or 'XL' type. This Harley Sportster motorbike has a machine and a slimmer frame design. This type of motor is the lightest among all Harley types. Harley Sportster is also the only Harley type that offers two engine variants, 883 and 1200.
One of the latest Harley Davidson And Jeep Wrangler models is the v-rod type. V-rod Harley is very different compared to other models because it combines 2 pieces of concepts, namely power, and style of motorsport. In the engine parts also use water cooled. Harley Buell is one type that is not exactly like Harley, this American-made sports motorbike is deliberately made like a Sports motorbike and carries the Harley Davidson brand. Harley Buell model is very suitable for daily use or for tortuous road terrain.
Jeep Wrangler is an adventurous car of the classic-type SUV released by the American automotive manufacturer "Jeep", the latest variant of the Jeep Wrangler is the Pentastar Rubicon 3000 cc V6 or popularly called the Jeep Wrangler Rubicon only.
Jeep Wrangler is included in the class of high SUV or upper-class SUV which is sold at least 760 million (new price), even though it has experienced a significant tax increase in the year which caused the selling price to rise quite large but the hobby of the Jip car is still not decreasing. Sales of 4×4 driven cars during 2013, 2014 and 2015 reached more than 1000 units (in Indonesia) in a year so that it could be said to be in the top class SUV in Indonesia and Jeep to maintain market share in the country. If you look at the price and quality, you will not lose buying this car, with prices above $40.000 – $60.000. we get a very high-quality car starting from the metal materials used, outdoor features, interior, safety, comfort, machinery and so on that we will review. … compare with cars like Fortuner / Pajero, which costs 500 million and adds a car that is truly high quality and has the image of a top class car.
The Jeep Wrangler technically has a body length/dimension of 4223mm, the width of 1865 mm and height of 1873 mm. The Jeep Wrangler Ground Clearance is quite high at 254 mm or 25.5 cm, has a wheelbase of 2423 mm and a tire size of 255 / 75R17.
For the exterior of the car, it is made very strong with a thick plate/body so that when stepped on it will not be dented, unlike the body of Japanese-made cars such as the Pajero or Fortuner which are very thin. In addition to the excellent material, the car made by the manufacturer from the United States is also designed uniquely / classically by maintaining classic curves in the front to rear. Although it is a classic design, however, the features of this sophisticated car start from air conditioning, safety systems to entertainment systems.
The Jeep Wrangler is quite reliable in bulldozing rocky terrain and standing water, from the tests carried out this car is able to melt rocks the size of a soccer ball and can hit a puddle of water up to a height of 70 cm.
The interior of the car is not inferior to the outside, a series of features are embedded from storage systems for drinks, storage for outdoor equipment, iconic air conditioning, entertainment systems, etc. Once inside the cabin of this car are the many control panels that are on the dashboard of the car, there is an AC hole in the center of the dashboard that seems challenging to use, the entertainment system in the form of a touch screen monitor to operate several features of the car to be connected to the telephone (smartphone) so that it can function as a GPS and so on.
At the steering wheel section, there are control panels that can spoil drivers to operate certain functions without reaching the dashboard, for example picking up the telephone or turning on the air conditioner.
On the right dashboard there is a storage box for food places so that the freshness is maintained (still cool), in the middle (between the driver's seat and front passenger) there is also a place to store soft drinks so that they are not easily spilled and easy to reach. This Jeep Wrangler seat is made of high-quality material so it is comfortable to sit on.
the images that we present also make it easier to understand the features of this car.
The Jeep Wrangler is equipped with a petrol engine with a capacity of 2985 cc (or 3000 cc), this jeep wrangler rubicon actually has a smaller engine capacity than the previous generation wrangler with a capacity of 3600 cc. Decreasing the volume of this engine is claimed to get more efficient fuel consumption. This Wrangler uses 6 cylinders with 24 valves.
The maximum power of this car made by Jeep is 230 hp obtained at 6350 Rpm engine speed is quite large huh? while the maximum torque is around 285 Nm at 4400 Rpm engine speed.
The Jeep Wrangler drive system has 4×2 and some are 4×4, for the Wrangler Sports X type it uses a 4×2 drive but for the Wrangler Sports 4×4 and Wrangler Rubicon 4×4 using a 4-wheel drive. While for the Jeep Wrangler transmission system all use a 5-speed automatic transmission system.
For cars that are of the Jeep Wrangler menu type.


3 and say, Thus says lord LORD to Jerusalem: Thy birth and thy nativity is from the land of the Canaanite. The Amorite was thy father, and thy mother was a Hittite.
4 And as for thy nativity, in the day thou were born thy navel was not cut, nor were thou washed in water to cleanse thee. Thou were not salted at all, nor swaddled at all.
5 No eye pitied thee, to do any of these things to thee, to have compassion upon thee, but thou were cast out in the open field. For thy person was abhorred, in the day that thou were born.
6 And when I passed by thee, and saw thee weltering in thy blood, I said to thee, in thy blood, Live! Yea, I said to thee, in thy blood, Live!
7 I caused thee to multiply as that which grows in the field, and thou increased and grew great. And thou attained to excellent ornament, thy breasts were fashioned, and thy hair was grown. Yet thou were naked and bare.
9 Then I washed thee with water. Yea, I thoroughly washed away thy blood from thee, and I anointed thee with oil.
10 I also clothed thee with embroidered work, and shod thee with badger skin. And I girded thee around with fine linen, and covered thee with silk.
11 And I decked thee with ornaments, and I put bracelets upon thy hands, and a chain on thy neck.
12 And I put a ring upon thy nose, and earrings in thine ears, and a beautiful crown upon thy head.
13 Thus thou were decked with gold and silver, and thy raiment was of fine linen, and silk, and embroidered work. Thou ate fine flour, and honey, and oil. And thou were very beautiful, and thou prospered to royalty.
14 And thy renown went forth among the nations for thy beauty. For it was perfect, through my majesty which I had put upon thee, says lord LORD.
15 But thou trusted in thy beauty, and played the harlot because of thy renown, and poured out thy whoredoms on everyone who passed by; his it was.
16 And thou took of thy garments, and made high places for thee, decked with various colors, and played the harlot upon them, [things which] should not come, nor should it be.
17 Thou also took thy fair jewels of my gold and of my silver, which I had given thee, and made for thee images of men, and played the harlot with them.
18 And thou took thy embroidered garments, and covered them, and set my oil and my incense before them.
19 My bread also which I gave thee, fine flour and oil and honey, with which I fed thee, thou even set it before them for a sweet savor, and [thus] it was, says lord LORD.
21 that thou have slain my children, and delivered them up, in causing them to pass through [the fire] to them?
22 And in all thine abominations and thy whoredoms thou have not remembered the days of thy youth when thou were naked and bare, and were weltering in thy blood.
24 that thou have built thyself a vaulted place, and have made thee a lofty place in every street.
25 Thou have built thy lofty place at the head of every way, and have made thy beauty an abomination. And have opened thy feet to everyone who passed by, and multiplied thy whoredom.
26 Thou have also committed fornication with the Egyptians, thy neighbors, great of flesh, and have multiplied thy whoredom, to provoke me to anger.
27 Behold therefore, I have stretched out my hand over thee, and have diminished thy portion, and delivered thee to the will of those who hate thee, the daughters of the Philistines, who are ashamed of thy lewd way.
28 Thou have played the harlot also with the Assyrians, because thou were insatiable. Yea, thou have played the harlot with them, and yet thou were not satisfied.
29 Thou have moreover multiplied thy whoredom to the land of traffic, to Chaldea, and yet thou were not satisfied with this.
31 in that thou build thy vaulted place at the head of every way, and make thy lofty place in every street. And have not [even] been as a harlot, in that thou scorn hire.
32 A wife who commits adultery, who takes strangers instead of her husband!
33 They give gifts to all harlots, but thou give thy gifts to all thy lovers, and bribe them, that they may come to thee on every side for thy whoredoms.
34 And thou are different from [other] women in thy whoredoms, in that none follows thee to play the harlot. And whereas thou give a wage, and no wage is given to thee, therefore thou are different.
35 Therefore, O harlot, hear the word of LORD.
38 And I will judge thee, as women who break wedlock and shed blood are judged. And I will bring upon thee the blood of wrath and jealousy.
39 I will also give thee into their hand, and they shall throw down thy vaulted place, and break down thy lofty places. And they shall strip thee of thy clothes, and take thy fair jewels, and they shall leave thee naked and bare.
41 And they shall burn thy houses with fire, and execute judgments upon thee in the sight of many women. And I will cause thee to cease from playing the harlot, and thou shall also give no wage any more.
42 So I will cause my wrath toward thee to rest, and my jealousy shall depart from thee, and I will be quiet, and will no more be angry.
44 Behold, everyone who uses proverbs shall use [this] proverb against thee, saying, As is the mother, so is her daughter.
45 Thou are the daughter of thy mother, who loathes her husband and her sons. And thou are the sister of thy sisters, who loathed their husbands and their sons. Your mother was a Hittite, and your father an Amorite.
46 And thine elder sister is Samaria, who dwells at thy left hand, she and her daughters. And thy younger sister, who dwells at thy right hand, is Sodom and her daughters.
47 Yet thou have not walked in their ways, nor done according to their abominations, but, like [it was] a very little [thing], thou were more corrupt than they in all thy ways.
48 As I live, says lord LORD, Sodom thy sister has not done, she nor her daughters, as thou have done, thou and thy daughters.
49 Behold, this was the iniquity of thy sister Sodom: pride, fullness of bread, and prosperous ease was in her and in her daughters, and she did not strengthen the hand of a poor and needy man.
50 And they were haughty, and committed abomination before me. Therefore I took them away as I saw [fit].
51 Neither has Samaria committed half of thy sins, but thou have multiplied thine abominations more than they, and have justified thy sisters by all thine abominations which thou have done.
54 that thou may bear thine own shame, and may be ashamed because of all that thou have done, in that thou are a comfort to them.
55 And thy sisters, Sodom and her daughters, shall return to their former estate, and Samaria and her daughters shall return to their former estate, and thou and thy daughters shall return to your former estate.
57 before thy wickedness was uncovered, as at the time of the reproach of the daughters of Syria, and of all who are round about her, the daughters of the Philistines, who do despite to thee round about.
58 Thou have borne thy lewdness and thine abominations, says LORD.
59 For thus says lord LORD: I will also deal with thee as thou have done, who have despised the oath in breaking the covenant.
60 Nevertheless I will remember my covenant with thee in the days of thy youth, and I will establish to thee an everlasting covenant.
61 Then thou shall remember thy ways, and be ashamed, when thou shall receive thy sisters, thine elder [sisters] and thy younger, and I will give them to thee for daughters, but not by thy covenant.
63 that thou may remember, and be confounded, and never open thy mouth any more, because of thy shame, when I have forgiven thee all that thou have done, says lord LORD.


text:
Enkelbensleddjur (Uniramia) var i äldre teorier en understam bland leddjuren. Den indelades i klasserna:
 Insekter
 Mångfotingar

Begreppet är nu övergivet. Det baserades på att extremiteterna hos insekter och mångfotingar är ogrenade (uniramia = en gren) till skillnad från kräftdjurens Y-formiga extremiteter. Insekter och mångfotingar andas också båda med trakéer, och kallas ibland trakédjur, Tracheata. Ingen av dessa karaktärer anses nu som en synapomorfi. Se diskussion under Pancrustacea.

Externa länkar
 UCMP (engelska)

Leddjur

redpajama_set_name: RedPajamaWikipedia


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