Sunday, January 31, 2016

Daimler Double Six

Daimler Double Six


If you have ever sat in the back of a Jaguar, you may have wondered why these cars are such a hit with government ministers. Jaguars are seriously short of rear seat space for cars of their calibre, a sacrifice forced by their low, sleek roof-line.

How do John Major and pals put up with it? It's simple: their Jags are not as other Jaguars. They're longer between the wheels, giving more room for ministerial feet.

Now, following on from last year's launch of a heavily revised range of XJ saloons, you too can have a long-legged Jaguar. The wheelbase is five inches longer than the standard car's; all this extra length is accommodated in the rear doors, which now look a little out of proportion but don't unbalance the flowing lines too drastically. The rear part of the roof is slightly more upright, too, for better headroom. Some Jags can be had in both short and long forms, but the sporty ones are short and the grandest XJ saloon of all, the Daimler Double Six, is solely a stretch job.

At pounds 65,950, the Double Six is far cheaper than the cheapest Rolls-Royce or Bentley, but oozes much the same opulence and is virtually as well made (which used not to be true of a Jaguar XJ). Polished walnut and soft leather abound, of course, and rear passengers have plenty of toys to play with. Each rear seat reclines electrically, and a further set of controls on the back of the front passenger seat even allows the left rear passenger to move the front seat.

The Double Six has lost none of the XJ's cosy ambience, nor its outstanding driving dynamics. You can feel the magic at work as soon as you hasten this big, heavy car along some bumpy, bendy roads. No other luxury car smothers bumps like this one, while remaining so agile, unflustered and easy to drive.

The Double Six is a fast car, as it should be with a six-litre, 313bhp V12 engine, and the power delivery is matched to an equally smooth automatic transmission. There's just one snag: spirited driving will see a gallon of fuel consumed in as little as 14 miles. That apart, it's hard to think of a luxury car that does what it was built to do better, overall, than the Daimler Double Six.

John Simister


Daimler Double Six, pounds 65,950

Engine 5,993cc. V12 cylinders, 313bhp at 5,350rpm. Four-speed automatic gearbox, rear-wheel drive. Top speed 152mph, 0-60 in 7.5 seconds. Fuel consumption 14-19mpg


BMW 750iL, pounds 69,450

Electronics galore. More economical than the Daimler, but lacks its serenity, style and homeliness.

Bentley Brooklands, pounds 99,980

Huge presence, but surprising lack of refinement from both engine and suspension

Mercedes-Benz SD600, pounds 97,900

Great girth doesn't spoil its agility and pace, but offers little more than the Daimler or BMW


Daimler Double Six: Buying guide and review (1972-1997)

Daimler SovereignDaimler Double SixThe Daimler Motor Company is possibly the oldest British motoring name around, dating from 1896 it has been through more ups and downs than most, at its peak it provided elegant transport for Royals in the ‘20s and ‘30s to a low period post war where a number of owners including BSA, Ford and British Leyland failed to reverse its ailing fortunes. However in the latter part of the 20th century, under Jaguar ownership, the Daimler badge returned as a luxurious version of the new XJ saloon. 

The famous Double Six name was revived for the V12 versions of the new car to evoke memories of the 1920s originals. On the outside the Daimler Double Six looked very similar to the Jaguar XJ, sharing most of its body panels and trim, however calling it a badge engineered XJ does it an injustice as it was a much more sumptuously equipped and had bespoke suspension settings and trim options. The smaller capacity Daimlers were badged as Sovereign models. 

Reviewers of the time felt the Daimler was a worthy alternative to a Rolls Royce or Bentley at a fraction of the cost. Such was its cachet that a bespoke long wheelbase version was used as Queen Elizabeth’s official vehicle for a number of years. 

Which one to buy? 

Daimler production began soon after the Jaguar XJ was launched and shadowed its updates and facelifts along the way too. External changes were minimal and other than some very minor styling and the Daimler badges there was not much to distinguish between them. Internally there were differing trim options and generally more upmarket materials on the Daimlers. These Series I based models were launched with claims of being the fastest four door mass produced car, claiming a top speed in the region 140mph. 

Series II versions were introduced at a time when labour union issues plagued England, this in conjunction with some problems with Lucas sourced components meant that both reliability and build quality suffered. Exterior changes were made to the grille which became a shallower item and the bumpers were raised to follow US regulations of the time. Initially a few of the Series II’s were available on the shorter wheelbase however the long wheelbase was soon standardised helping add 4 inches to the rear legroom. The two door coupe Double Sixes were introduced during this period and with 385 produced, they are a rare sight on the roads today. The handsome proportions of these models make them a nice alternative to the four door cars and not much dearer. 

The Series III facelift saw another round of minor cosmetic changes taking place. Flush fitting door handles, rubberised bumper inserts and a raised roofline completed the overhaul. In 1981 the high efficiency 5.3L engine was introduced providing a little respite for owners at the pumps. In some markets where there were licensing issues with the Daimler name the cars were rebadged as a Jaguar Van Den Plas. 

In 1986 the XJ replacement dubbed XJ40 was introduced, featuring a more angular design with rectangular headlights it was a move towards modernising the brand. The Double Six was reintroduced in this shape close to the end of Jaguar production and these models featured an uprated 6 litre V12 with 313bhp as well as a host of internal design upgrades. 

While any of the variants are a good bet if your sole criteria are a smooth V12 engine and an even smoother ride, Series II models should be approached with caution due to their indifferent build quality. The last of the line models are desirable for their more modern underpinnings however the originals Series I’s shape is the clincher for those that prefer a more traditional look. 

Perfromance and specs 

Daimler Double Six Series I
Engine 5343cc, 24-valve SOHC V12 
Power 264bhp @ 5300rpm 
Torque 300lb ft 
Top Speed 152mph 
0-60mph 8.5 seconds 
Fuel consumption 14-19mpg 
Gearbox Three-speed automatic

Dimensions and weight

Series I variants
Wheelbase 2762mm
Length 4813mm
Width 1772mm
Height 1340mm
Weight 1885kg

Common problems

• As with the Jaguar models of the same era, reliability is not a strong point. As long as they are regularly loked after by a specialist, they are generally wee behaved today. 

• If you ignore all the other advice here at least heed this one point. Check for rust. When you have checked for rust then check again. Problem areas are many and even the most hardened Daimler enthusiast will soon be weeping into a significantly lightened wallet if they do not give a potential purchase a thorough inspection. 

• In the front, check inner and outer sills, wings, bottom edge of the bonnet on Series I 

• At the rear, wings, arches, screen surrounds, spare wheel well, bootlid lower edge and battery tray. 

• Lower side members and door bottoms, footwells and bumpers need to be carefully checked, as well as structural front cross members, radiator supports and rear suspension radius arms. 

• Engines benefit from a well maintained cooling system and are generally complex pieces of kit in V12 guise, so regular maintenance is a must. Bearing noises, knocking on start-up or excessive smoke could indicate an expensive repair bill. Oil pressure is important and should be checked to ensure the engine is operating within normal parameters. 

• Gearboxes are rugged and whether you have the earlier Borg Warner unit or the later GM400 one, they should work smoothly and quietly. Fast gear changes and quick responses were not their forte, however they suit the nature of the cars very well. 

• The suspension layouts are complex, especially at the rear with brake disks being mounted inboard. Binding pads can damage the diff seals. Clunking or jarring on pull off may indicate a worn propshaft or universal joint and this is worth getting checked out by a technician if you hear any suspicious noises. Worn suspension bushings can show themselves by wearing out the outside edge of tyres, so inspection of all four and the spare is a good idea. 

• Electronics can be troublesome and wiring looms can get damaged causing a number of faults. Various fixes and upgraded parts are available nowadays so while frustrating, a lot of the issues can be resolved. 

• Interior trim, seats and dashboards are generally hard wearing, and second hand items are usually available. 

• The good news is that most parts are still generally widely available, there is also a thriving Daimler/Jaguar fan base and finding that elusive bit of trim can be made a lot easier by joining one of the clubs. 

Model History 

1972: Series I Daimler Double Six goes into production joining the smaller capacity Jaguar XJ and Daimler Sovereign 
1973: Series II facelift version released, longer wheelbase standardised 
1975: Daimler Double Six two door coupe introduced 
1977: Automatic gearboxes changed to 3 speed GM units. Production of Coupe version ends 
1979: Series III launched, flush door handles and updated lights introduced 
1981: High Efficiency 5.3 HE engine introduced 
1986: Series III production ends 
1993: Daimler Double Six reintroduced in XJ40 body style 
1997: Last Daimler Double Six rolls off the production line 

Clubs and websites

• - parts for classic Daimlers and Jaguars 
• – Daimler Enthusiasts club, great for parts support 
• - Daimler and Lanchester Owners’ Club 

Friday, January 29, 2016

HK Die Walkure

Classical music review: HK Phil does Wagner proud with triumphant Die Walküre

Towering second instalment of the Ring cycle serves up passion and drama in equal measures
PUBLISHED : Monday, 25 January, 2016, 1:20pm
UPDATED : Monday, 25 January, 2016, 1:33pm
Crowned with a standing ovation, this opera-in-concert was a triumph for orchestra and singers alike. The suspense was taut in the hands of conductor Jaap van Zweden throughout the almost five-hour drama and conveyed with impassioned singing and splendid playing by the huge orchestra, with extra players including brass and harp recruited from Germany, Australia and theUS.
For those dubious of Wagner’s elongated time scale, it made sense in the context of this live performance. The ecstatic, overwhelming climaxes more than justified the long build-ups.
After three or four hours the audience felt like friends invited to a grand party – and you could sense the budding Ring addicts.
The Ring cycle fomented a craze in its day and spawned imitators right down to the latest John Williams soundtrack, but there is nothing like the original for depth and complexity. The music has two streams – love and power – and delves into the dark pools of each.
The orchestra was in fine form in the stormy overture. Act I featured soprano Heidi Melton as Sieglinde, tenor Stuart Skelton as Siegmund, and bass-baritone Falk Struckmann as Hunding.
All the soloists were astonishing in range and power, true in pitch, beautiful in timbre, without mannerisms or excessive vibrato.
Bass-baritone Falk Struckmann (top right) as Hunding.Skelton’s effortless golden voice soared over the orchestra and was convincing in every mood from woe to bliss. His drawn-out cries of “Waelse”, his father’s name, were a high point in Act I.
Richard Bamping’s cello solo was the perfect embodiment of the lyrical line, bass clarinetist Lorenzo Iosco added haunting solos, and the brass played with fierce power.
Jaap van Zweden (centre) and the HK Phil earned their standing ovation after the nearly five-hour opera-in-concert.The intense debate in Act II between the god, Wotan, sung by baritone Matthias Goerne, and his wife Fricka, sung by mezzo-soprano Michelle DeYoung, had equal pathos on both sides. Goerne’s velvety, eloquent voice was sometimes covered by the orchestra. His gestures such as rubbing his nose and looking down at his music suggested his recital career rather than the opera stage, but these were petty issues swept aside by his sensitive characterisation. DeYoung’s powerful voice made a compelling case for a woman betrayed.
In Act III’s Ride of the Valkyries, the eight women’s voices were terrifyingly united. Wotan’s farewell to his daughter Brünnhilde (soprano Petra Lang) was wrenching. Lang was electrifying as a warrior maiden and touching in fear.
In the orchestral finale time seemed to stop as the magical fire music spun on.
The Ring Cycle Part 2 – Die Walküre
Hong Kong Philharmonic Orchestra
Cultural Centre Concert Hall
Reviewed: January 23

Tuesday, January 26, 2016

McLean: The Asylum on the Hill

Alex Beam, the author of Gracefully Insane, probes the rich past of McLean Hospital, a mental institution renowned for ministering to prominent, creative, and aristocratic patients



            Gracefully Insane

Gracefully Insane: The Rise and Fall of America's Premier Mental Hospital

by Alex Beam

Public Affairs

On a wooded hill on the outskirts of Boston, Massachusetts, lies a luxurious campus with sloping lawns, grand buildings of brick and stone, and a long, twisting drive. Though it gives the appearance of a prestigious prep school or small liberal arts college, it is in fact an institution for the mentally ill. McLean Hospital, as it is called, was founded in 1817 in accordance with a then-popular theory that advocated the removal of the mentally ill from the rigors of urban life in favor of a restful sojourn in a quiet, pastoral setting. In McLean's heyday, doctors and patients skated, skied, rode horses, and played tennis, golf, and croquet on the hospital's lawns. The facilities included a working farm, billiard rooms, bowling alleys, art studios, and men's and women's gymnasiums. McLean's patients, who were almost without exception wealthy and aristocratic, enjoyed sumptuous rooms with fireplaces, parlors, and private bathrooms. Some extremely wealthy patients even had replicas of their own homes constructed on the hospital's grounds. Patients included such luminaries as Frederick Law Olmsted (who designed the grounds), Robert Lowell, Sylvia Plath, Nobel Prize-winner John Forbes Nash (currently the subject of the movie A Beautiful Mind), and (some say) William James.

Today the atmosphere at McLean is comparatively subdued. The population of both doctors and patients has dwindled. Patients stay for only a few days rather than months or years, and their hospital bills are generally paid not by trust funds and family inheritances but by HMOs and Medicare. Many residence halls have been converted into office space or research labs. And Upham Hall, formerly the grandest of all the residence halls, now stands empty and in disrepair. In years to come, McLean will be transformed still further when the hospital's plan to sell off a significant portion of its land (to make way for a retirement home, an office park, and a housing development) takes effect.

Going forward, McLean undoubtedly hopes to leave its reputation as an aristocratic playground behind so that it can reposition itself as a modern center for research and cutting-edge treatment. But the hospital is also mindful and appreciative of its rich past. McLean's staff includes both an archivist and an official historian, and old portraits, busts, and antique psychiatric equipment are displayed throughout the hospital.

Several years ago Alex Beam, a columnist for The Boston Globe, became intrigued by McLean's mystique as a hospital that has ministered to so many prominent, creative, and aristocratic patients. The story of McLean's rise to pre-eminence, the range of (sometimes exotic) treatments it explored over the years, the patients it has served, and the role it has played in Boston arts and culture, Beam decided, deserved to be told. So in 1996 he began researching McLean's history. He toured the grounds, interviewed current and former patients and doctors, read published and unpublished accounts of life at McLean, and sifted through archival material.

The result is Gracefully Insane: The Rise and Fall of America's Premier Mental Hospital, published this month. The book, which Beam refers to as a "biography" of the hospital, is more than a straightforward chronology of the hospital's development. He proceeds, rather, by addressing a different aspect of the hospital in each chapter, ranging from a consideration of McLean's upscale clientele and décor to the effects of Freudian ideology on hospital life to the cachet of the McLean name among a certain generation of poets and writers. Taken together, these essays, (one of which, "The Mad Poets Society," appeared in The Atlantic's July/August issue), offer not just a glimpse into the life of a particular hospital, but a slice of American social history—and an account of a bygone era in the world of psychiatry.

In addition to a regular column for The Boston Globe, Beam contributes to The Atlantic, Slate, and Forbes/FYI. He lives in Newton, Massachusetts, with his wife and three sons.

He spoke with me by telephone on December 14.

—Sage Stossel

Alex Beam

Alex Beam  

What first drew your attention to McLean Hospital as a possible subject for a book?

McLean is sort of a mysterious, almost enchanted place that very intelligent people have passed through. There is a mystique about it as an upper-class, East Coast, artistic institution.

I wasn't aware of a book like this having ever been done about McLean or any similar place—like Bellevue in New York, or the Hartford Retreat, or Austen Riggs. So the subject was sort of a blank slate to me, and I saw it as a bit of a challenge.

Are there things that distinguish McLean from those other mental-hospital retreats?

In the nineteenth century and the early twentieth century—arguably up through the 1940s—Boston was a town of paramount importance in arts and letters. So you could say that because of McLean's combination of aristocratic heritage and its curious role as an institution that ministered to important figures in literature and the arts, it was somewhat different from other hospitals. Bellevue certainly occupies a place in American literary history, because there are plenty of brilliant confused New Yorkers who spent time there. But McLean seems somehow special to me.

You refer in Gracefully Insane to a history of McLean Hospital by McLean's official historian, Silvia Sutton, titled Crossroads in Psychiatry. How does what you do in your book differ from the purpose of an account like hers?

Silvia Sutton's book was an official history commissioned by the hospital in conjunction with its 150th anniversary. In a way, what I've written is almost the opposite of an official history. I wanted to write a biography of the hospital—about the look and feel. Sutton's work on the nineteenth century is excellent. And her work up until World War II was very, very useful to me, but later on I think she becomes beholden to the people who commissioned the book.

I have a chapter that I'm pretty proud of called "Freud and Man at McLean" that tries to address the issue of Freudianism at McLean and in American psychiatry in general. Sutton's funny and informative on that subject, but very, very brief. She doesn't allow herself to quote from the records of the three men who were Freud's patients and who later ended up at McLean.

I guess I'd like to think that my book is much less institutional and more oriented toward the stories that men and women tell about being there as patients and doctors.

The subtitle of the book refers to McLean as "America's Premier Mental Hospital," but in your account, the hospital is at times referred to in somewhat disparaging terms as "an aristocratic backwater" and "a high-class hotel for the mentally afflicted." By "premier" do you mostly mean in terms of luxury and class?

Premier is a word I chose to mean, I guess, "the most hoity-toity." It did stagnate as a backwater through most of the twentieth century, though I know that's not an accurate description of what it's like now.

The analogy that's always been useful for me is that it's sort of like a luxury ocean liner. McLean was premier in the same way that, say, the QE2 is the "premier" ocean liner traveling the seas. It was the most comfortable and the most high-end.

Your account emphasizes that many of McLean's patients have had successful creative careers as writers, musicians, or other kinds of artists. What's your sense of the relationship between madness, creativity, and McLean Hospital? Do you think there was something about the atmosphere at McLean that fostered creativity in people who previously hadn't explored that aspect of themselves?

I don't know. I think that's a bit romantic. I did write a chapter about those rock musician kids, some of whom, like Livingston and Kate Taylor, began their careers, really, at McLean. So the point could be made, as you formulate it, that it was a place where creative people got some forward momentum. But I don't really subscribe to that. Even though I know that I've romanticized the experience more than once in this book, the key point, sadly, is that it's a hospital for people who are sick.

A letter to the editor about your "Mad Poets Society" piece in The Atlantic suggested that by emphasizing the cachet of McLean among angstful literary types you ended up trivializing the genuine anguish of the mentally ill. How would you respond to that kind of charge?

I was shown two letters by The Atlantic, both with that thrust, one of which was published. The reason I didn't respond in the magazine is that I felt that it was a totally cogent, reasonable, and informed criticism.

To be fair to myself, though (speaking specifically about that excerpt that appeared in The Atlantic), I interviewed a woman whom I quote both in the article and in the book, named Ruth Barnhouse, who was Sylvia Plath's psychiatrist and who saved Sylvia Plath's life—at least for a period of eight years. For some reason, I didn't quote her saying this in the book, but she and others have said that there was a heavy air of self-dramatization about both Sylvia Plath and Anne Sexton. She spoke sort of disparagingly about these well-to-do poets for whom it was a glamorous exercise to show up in the mental hospital. Plath even confided in her journal that she could make a lot of money by writing a novel about McLean—which she then went on to do.

Robert Lowell, on the other hand, clearly didn't go there for reasons of narcissism, but because of serious illness. Lowell never wrote at McLean. He was too ill. And although he wrote two very beautiful poems about McLean—one about being there and one about coming home, those poems were composed in moments of clarity weeks or months later.

Do you think that Lowell himself—a major poet who was genuinely sick—is part of the reason that the persona of the institutionalized poet took on a certain glamour?

Yes. Plath and Sexton were (to use a pretentious Harold-Bloomian-type word), self-consciously Lowell's ephebes. He was a mentor to them and to a whole generation of poets. He was really one of the first self-identified public creative geniuses who wrestled with mental illness—mania in his case.

Your account makes it quite clear that McLean has always very carefully guarded its reputation and respectability. How were you received by the hospital's current doctors and administrators when you approached them about your research?

I was pleasantly surprised. They have an archivist; they're quite history-minded. And people were very generous and helpful. I mean, I was not really writing about the modern hospital. I hope that's clear to the reader. That was sort of my shield when I was there—I said, Look, I'm not here to write an exposé about what's going on now; I want to talk to you about things that happened in the fifties, sixties, early seventies.

Your look into McLean's past turned up a fair amount of sordid history—waves of suicides not fully documented in the official records, sexual-harassment scandals, a plagiarism scandal... Is that about what one would expect to find in any longstanding mental institution's past? Or do you think that McLean's ethos of secrecy and tendency to keep problems hidden led to more of those kinds of problems than one might find elsewhere?

I think that any and all institutions that provide that kind of care are always extremely secretive. You and I would cringe if we went through the files of, say, Metropolitan State Hospital. So I don't have a basis for making any conclusions about scandals at McLean. I'm leaning toward thinking that just because I decided to put this one institution under the microscope because of its high standing and visibility in American society doesn't mean that if I were to put another institution under the microscope we wouldn't come up with analogous shortcomings.

Did reviewing the long list of bizarre and outlandish psychiatric treatments that have been tried and discarded at McLean and other hospitals over the years negatively affect your opinion of psychiatry as a science?

In order to artfully dodge that question, my book self-consciously ends at a real breaking point, or caesura (to use another pretentious word), in psychiatry, which is now becoming an organic science of the brain. I know it's easy to be cynical about psychiatry's attempts to come to grips with disturbed people by injecting them with the blood of rabid horses and so on. It's a laugh, and I play it for laughs in a way, but that aside, these doctors really were trying to cure people—with mixed results.

As a layperson I suspect (and many people have said this) that the chemical compounds that they put in your bloodstream nowadays—that they essentially put into your brain—are still blunt instruments, though perhaps somewhat sharper than before. I don't really know. I don't take psychotropic drugs myself. But any literate person can see that it's not as if we live in a much saner society now.

When a longstanding mental hospital like McLean closes down (as almost happened in the mid-1980s and again in the mid-1990s) what becomes of all their confidential patient records?

That's an interesting question. I don't know the answer.

You described those records as "mini-biographies" of people's lives. I know they have to be kept confidential, but it seems like they could be a great resource someday for someone who was doing social-history research.

I completely agree. I'm kind of hung up on McLean's records myself, even though I've never been allowed to see them.

I'll tell you an institution I would write another book about. It's called Adams Nervine, which was a women's hospital that used to be near Boston's Arnold Arboretum. It's where William and Henry James's sister Alice was, and Henry Adams's wife Clover. I've been told second-hand that its records were destroyed when the hospital closed down. The records of Adams Nervine must have been just an amazing portrait of a certain stratum of American womanhood in the nineteenth century. It's a shame that they're gone. In the same way, I think it would be a great loss to get rid of McLean's records. Thank God it's not an issue right now. But it could be a real issue sometime. They've told me that all of their records are currently well preserved, but if the hospital shut down I have no idea what would happen to them.

You described some periods in McLean's history when the patients have been mostly older and the atmosphere on campus has been like that of a retirement home. And you described other periods (like the late sixties) when there was an influx of young people and the general feeling was that the place had become overrun with unruly teenagers. Was there a particular age group that seemed dominant in your own recent visits?

It's mixed. It's a very different population now, because seventy percent of the patients are there with some form of government subsidy. So actually there's no way to categorize them at all in terms of how they look, what their age is, and so on. Most of the patients are not there for a very long time. Their presence there I think is solely determined by the quality of the insurance they have and the quality of the state's commitment to them. It's hard to generalize. The patients you see just look like people who are sad—they're people grappling with illness.

You did write that McLean has developed something called "The Pavilion" which sounds as though it's carrying on the old upscale tradition in that it caters to wealthy people who pay their own way.

You can paint yourself a glamorous portrait of the Pavilion, but when you get there it's just kind of like an Embassy Suites with doctors available. There are only six beds there now, but they're always full, and they generate a great deal of revenue. It's a small but lucrative element of the new McLean.

A lot of it is actually for executives. I think McLean took a look at the Mayo Clinic, which had developed something along those lines, and said, Hmm, it would be nice to get a piece of that. American companies spend a great deal of money on the physical—and it turns out also the mental—health of their upper tiers of executives. It's a good market for McLean to tap.

You characterize researching McLean as akin to "visiting a very foreign, very interesting country." As the hospital downsizes, narrows its focus, and shortens the average stay, is it your impression that McLean will lose its "differentness" and end up becoming a more prosaic place?

I guess it will. It will be harder to find—it will be buried behind an office development, behind a retirement community, and behind an upscale housing complex. So you won't be able to drive in as you can now with orchards on your left and stables on your right. Those will be destroyed.

It was the nineteenth-century ideal to help sick men and women by removing them from crowdedness. That will all be gone.