Features

Replacing the outgoing Viano nameplate and re-adopting the V-Class moniker as of 2014, Mercedes-Benz presents the latest generation of highly practical large people carrier that is better than ever, and makes a compelling argument as an alternative to a saloon or SUV. 

With more emphasis on design, luxury and technology, the new V-Class is an evolutionary improvement with noticeably better ride and cabin refinement, and handling ability and agility that was unexpected for a large van-based vehicle. Offered with a single smaller petrol engine in Jordan, the 2-litre turbocharged V250 offers better efficiency than its 3.5-litre V6 Viano predecessor.

A decidedly more charismatic and muscularly assertive design than its predecessor, the V-Class features an interplay between convex and concave shapes and surfaces at the sides and fascia, including more emphasised upper and lower creases along its flanks and smoother, better integrated bumper surfacing. Bearing strong familial resemblance to Mercedes’ passenger car model lines, the V-Class’ large upright grille features a three-dimensional tri-star badge flanked by twin chrome-like louvers and rising, stretched around headlights with a moodier aesthetic and LED elements that seem to frame the grille. A bulging bonnet and single louvre lower side intakes also lend more presence and elegance. 

Cavernous and quick

Driven in the longest Extra Long version of three available lengths, with extended 3200mm wheelbase and longer rear overhang, the V-Class’s features a very subtly descending roofline and low CD0.31 aerodynamics for efficiency and low wind noise. It’s long, tall and wide rear loading bay and body allow for hugely cavernous cargo and passenger space, among the best in the MPV and van segments, and simply unmatched by SUVs or estate cars. At the rear, the new model features smaller, better integrated rear lights than the Viano, a low loading lip, electric tailgate and smaller glass hatch opening for more convenience for loading smaller items.

Offered in most markets with a 2.15-litre turbodiesel engine, the sole petrol V250 variant, available in Jordan, is powered by Mercedes’ now familiar and effective 2-litre turbocharged direct injection four-cylinder. Replacing its Viano predecessor’s 3.5-litre naturally-aspirated V6, the V250 develops 208BHP at 5500rpm and 258lb/ft torque throughout 1200-4000rpm, and is approximately capable of 0-100km/h in 9.4-seconds and a 210km/h top speed. At a 20BHP disadvantage to the Viano yet gaining 4lb/ft, the V250 nevertheless feels the more responsive, suitable engine and certainly more efficient engine, and benefits from a well-sorted and brilliantly geared version of Mercedes’ also familiar 7-speed automatic gearbox, in place of the Viano’s 5-speed.

Lively and
surprisingly agile

With quick-spooling turbo and responsive aggressively geared first and second ratios, the V250 feels sprightly and responsive from standstill, with turbo lag all but seemingly absent when driven in Comfort or Sport gearbox response mode. In Economy mode, revs are kept lower and gears higher, so naturally lag becomes slightly more apparent, but efficiency improves, and also benefits from taller top gears. Brawny, lively and versatile with muscular mid-range pull for inclines, overtaking and hauling, the V250’s engine belies a hefty 2055kg estimated weight, and is smooth, refined and willing to be revved hard to its redline, where engine roar is slightly more evident.

Another significant benefit courtesy of the V250’s downsized engine is that its front end feels noticeably lighter than its predecessor, with a crisper and more eager turn-in than expected from a large MPV, let alone one that is van-based. Tidy into corners with good front grip and little understeer when pushed too aggressively, the V250 Extra long is surprisingly agile through switchbacks, with its front engine and rear drive balance working in its favour. Meanwhile its long wheelbase provides good rear grip, and predictably telegraphed oversteer if provoked by a pivot to tighten a cornering line, or with too much throttle coming out of a corner.

Balance and comfort

Similar to other Mercedes passenger cars, the V250’s electric-assisted rack and pinion steering is positive, precise and eager to self-centre. And with better feel and feedback than some cars and many MPVs, vans and SUVs, the V250’s steering, upright driving position and balanced chassis, one feels involved and in the middle of the action. With a tauter and more rigid and refined feel to its construction and driving dynamic than the Viano, the V250 rides on independent rear suspension with variable dampers that soften to allow for supple ride comfort and tighten for comparably good body lean control through corners and to press wheels tautly into the tarmac.

Stable and refined at speed for its segment, the V250 is, however, in its comfort zone when cruising, while its optional Avantgarde trim 245/45R19 tyres provide a good compromise between control and comfort, and braking is reassuring. Riding well and smooth, the V250 can wallow very slightly over particularly choppy road surfacing, and on heavy braking, there is slight brake dive — both of which were less than expected. With a tight 12.5-metre turning circle, the V250 Extra Long is more manoeuvrable than its size suggests, but given its length and forward driving position, one often needs to turn-in later than intuitive when driving a car.

Manoeuvrable
and configurable

Enormous at 5370mm long, 1928mm wide and 1880mm tall, the V-Class Extra Long is, however, relatively easily manoeuvrable, especially when moving forward. To help with rear visibility, which can be tricky owing to size and height, the V250 Avantgarde version driven featured a 360° and reversing camera parking package. Meanwhile for overtaking and lane-changing manoeuvres, in which lower cars aren’t completely visible in big blind spots and, optional blind spot and lane assistance systems were invaluable. Over shoulder visibility is better when second row seats are configured to be front-facing, while bigger van-like side mirrors would be a welcome addition, even if at the expense of aerodynamics and aesthetics.

Refined, luxurious and superbly comfortable inside, the V250 Avantgarde has a classy and modern ambiance, with a contemporary dashboard, leather upholstery and steering, user-friendly infotainment and convenience features, soft textures, good fit and finish, tinted rear windows, and contemporary car-like dashboard and steering. In terms of practicality, the luxurious Avantgarde version features plenty of storage spaces and two — rather than one — huge electric and remote operable sliding doors to easily access the rear two seat rows. Accommodating 8-passengers with two rear bench seats, the 7-seat Avantgarde, however, featured twin middle row captain’s seats and a table unit, all of which are detachable and configurable along twin long flush rails.

TECHNICAL SPECIFICATIONS

Engine: 2-litre, turbocharged, in-line 4-cylinders

Bore x stroke: 83.1 x 91.9mm

Compression ratio: 9.8:1

Valve-train: 16-valve, DOHC, direct injection

Gearbox: 7-speed automatic, rear-wheel-drive

Power, BHP (PS) [kW]: 208 (211) [155] @5500rpm

Specific power: 104.5BHP/litre

Torque, lb/ft (Nm): 258 (350) @ 1200-4000rpm

Specific torque: 175.8Nm/litre

0-100km/h: 9.4-seconds

Maximum speed: 210km/h

Fuel tank: 70-litres

Length: 5370mm

Width: 1928mm

Height: 1880mm

Wheelbase: 3200mm

Track, F/R: 1666/1646mm

Overhang, F/R: 895/1045mm

Aerodynamic drag co-efficiency: 0.31

Unladen weight: 2055kg (estimate)

Steering: Electric-assisted, rack and pinion

Turning circle: 12.5-metres

Suspension F/R: MacPherson struts/semi-trailing arms, coil springs, anti-roll bars, variable damping

Brakes: Ventilated discs

Tyres: 245/45R19

Parents who put babies to sleep in their own rooms report the infants get more rest and have more consistent bedtime routines than parents who share a room or a bed with their babies, a recent study suggests. 

The study focused on infants 6 to 12 months old. Researchers examined data from a questionnaire completed by parents of 6,236 infants in the US and 3,798 babies in an international sample from Australia, Brazil, Canada, Great Britain and New Zealand. All participants were users of a publicly available smartphone app for baby sleep. 

Overall, about 37 per cent of the babies in the US and 48 per cent in the international sample slept in a separate room, the study found. In both groups, parents of infants who slept in a different room reported that babies had earlier bedtimes, took less time to fall asleep, got more total sleep over the course of 24 hours and spent more time asleep at night. 

“There are a number of possible reasons that babies sleep better in their own room,” said lead study author Jodi Mindell, associate director of the Sleep Centre at the Children’s Hospital of Philadelphia. 

“One main reason is that they are more likely to self-soothe to sleep,” Mindell said by e-mail. 

Parents who put babies to sleep in a separate room were less likely to feed infants to help them fall asleep at bedtime or when they awoke during the night, according to the study, published online August 11 in Sleep Medicine. 

When babies had their own rooms, parents also perceived bedtime to be less difficult. 

One limitation of the study is that parents with concerns about infant sleep might be more likely to download an app and complete a sleep questionnaire than parents without these concerns, the authors note. This might mean the results are not representative of what would happen in a larger population of households. 

The results are also at odds with infant sleep recommendations. 

Last year, the American Academy of Paediatrics (AAP) issued new guidelines recommending newborns sleep in the same bedroom as their parents for at least the first six months of their lives to minimise the risk of sleep-related deaths. Ideally, babies should stay in their parents’ rooms at night for a full year, AAP advised. 

That is because babies sleeping in the same room as parents, but not the same bed, may have a lower risk of sudden infant death syndrome (SIDS). The safest spot for infant sleep is on a firm surface such as a crib or bassinet without any soft bedding, bumpers or pillows, the guidelines stressed. 

“Paediatric providers have been struggling with what to tell parents since the release of the AAP recommendations,” Mindell said. “Once a baby is past the risk of SIDS, by 6 months of age, parents need to decide what works best for them and their family, which enables everyone in the family to get the sleep they need.” 

The recommendations target the highest-risk period for SIDS, from birth to 6 months, but these deaths can also occur in older babies that were the focus on the study, said Dr Lori Feldman-Winter, a coauthor of the AAP guidelines and paediatrics researcher at Cooper Medical School of Rowan University in Camden, New Jersey. 

“If the only goal is to increase sleep, then the results may be compelling,” Feldman-Winter said by e-mail. “However, since we don’t know what causes SIDS and evidence supports room sharing as a method to decrease SIDS, giving up some sleep time may be worth it.” 

VENICE — The 74th Venice film festival kicked off on Wednesday with “Downsizing”, a sci-fi drama starring a miniaturised Matt Damon, opening to enthusiastic early reviews.

Occupying a curtain-raising slot that has come to be seen as a strategic launchpad for films with Oscar ambitions, Alexander Payne’s part satirical, part save-the-planet new work was hailed by the trade press as an intriguing and original breath of fresh air from the “Sideways” and “Nebraska” director.

The Hollywood Reporter said Payne had “hit the creative jackpot”, while Variety welcomed a “ticklish and resonant crowd pleaser for grown ups”.

London’s Evening Standard was more reserved, praising the film as “often very funny” but bemoaning the abandonment of its initial satirical edge.

Set in the near future, the film is based on the premise that Norwegian scientists have found a way to literally reduce humanity’s environmental footprint by downsizing humans to 12.5-centimetre versions of themselves.

Soon, however, the technological breakthrough is being exploited for different reasons, as a means of enabling people to access a much more luxurious lifestyle than they could ever afford in the big world.

A combination of ecological and material motivations for being shrunk appeal to Paul Safranek (Damon), a kindly and well-meaning but stressed and frustrated occupational therapist from Omaha, and his wife Audrey, played by Kristen Wiig.

They sign up for the surgery but she gets cold feet at the last minute, leaving Damon to embark alone on his adventure in the miniaturised world he inhabits post-surgery.

Among those he comes into contact with there are a Christoph Waltz, who plays Dusan, his louche, party-loving neighbour in his miniature condominium, and Vietnamese cleaner Ngoc Lan, played by Hong Chau.

She, it turns out, had been forcibly miniaturised after being imprisoned as a dissident in her homeland and has lost a leg below the knee as a result of being smuggled into the United States in a television box.

Intrigued, Damon strikes up a friendship with her, taking the film in an unexpected Romcom direction that allows Payne to tie up his themes about the search for a better life, impending environmental catastrophe and the need, above all, to live in the moment.

Scripted by Payne, a two-time Oscar winner for his screenplays, and frequent writing partner Jim Taylor, the film will be hoping to emulate the success of “La La Land”, “Birdman” and “Gravity”, all Venice openers in recent years which went on to bag a bunch of awards.

Also being unveiled on the opening day was “Nico”, a bio-pic focusing on the final years of the Velvet Underground singer and Andy Warhol muse which is being shown in the festival’s “Horizons” section dedicated to cutting-edge productions.

Redford and Fonda

“Downsizing” is one of 21 films competing for Venice’s top prize, the Golden Lion, which will be handed out on September 9, along with a string of other awards including the first for films in a new competition for virtual reality productions.

As usual the international film line-up at Venice ranges from big-budget Hollywood productions, like George Clooney’s sixth directorial outing, “Suburbicon”, to new works by indie favourites Andrew Haigh and Warwick Thornton, via documentaries such as Chinese artist Ai Weiwei’s epic look at the global refugee crisis, “Human Flow”.

British director Haigh will be presenting “Lean on Pete”, his first film since the acclaimed “45 Years”, while Thornton arrives in Venice next week to promote “Sweet Country”, a Western set in 1920s Australia that deals with the treatment of the country’s indigenous peoples.

Along with Clooney, the major stars due on the red carpet include Robert Redford and Jane Fonda, who will pick up lifetime achievement awards while plugging their new film “Our Souls at Night”, a Netflix drama about an unconventional romance between two elderly neighbours.

The theme of love after a certain age is also addressed in “Leisure Seeker”, in which Helen Mirren and Donald Sutherland star as an independent, free-spirited couple coming to terms with Alzheimer’s.

Bloodied heart

Spanish superstar couple Javier Bardem and Penelope Cruz team up again for a new drama about Pablo Escobar, “Loving Pablo”, in which Bardem plays the Colombian drug baron and Cruz his long-term mistress.

Bardem is also to be seen playing opposite Jennifer Lawrence in “mother!”, a new film by “Black Swan” director Darren Aronofsky, that is one of several thrillers vying for honours.

Promoted by a Mother’s Day-release of a poster showing Lawrence holding her own bloodied heart, the film tells the tale of a couple thrown into turmoil by uninvited guests.

Another spine-chiller features Ethan Hawke in Paul Schrader’s “First Reformed”, which turns around a dark secret harboured by members of a church who are tormented by the deaths of loved ones.

Also expected to make waves, with an out-of-competition world premiere, is “Victoria & Abdul”, Stephen Frears’ treatment of the true story of the elderly Queen Victoria’s later-life friendship with an Indian clerk.

British director Frears is to be honoured on Sunday for his innovative contribution to cinema.

LOS ANGELES — There is no getting around it: this weekend’s domestic box office is a catastrophe.

In the grand scheme, it can seem like a small issue when compared with Hurricane Harvey — the deadly natural disaster that tore through the Gulf Coast of Texas on Friday, dumping more than 51cm of rain, according to the National Weather Service. But Harvey also had at least some impact on the business, forcing theatre closures in South Texas. Still, the degree to which the storm hurt the bottom line of moviegoing is up for debate.

Another factor under inspection is Saturday evening’s boxing match which saw Floyd Mayweather beat Conor McGregor with a 10th-round TKO. The fight was estimated to reap as much as $1 billion in revenues, and among the biggest pay-per-view draws in history. Numbers regarding the amount of viewers will be released later in the week, but some analysts predicted the highly-anticipated brawl could keep those who would ordinarily see a movie, out of theaters.

All that said, no amount of outside factors can excuse the reality that no major releases this weekend managed to connect with audiences in a significant way. The overall box office this weekend is not expected to pass $65 million, and the top 12 films will gross less than $50 million. Those figures are the lowest in more than 15 years.

There have been lulls around this time in recent years. In 2014, the first weekend in September made $66 million overall. Two years before that, the September 7-9 frame made $67 million overall and $51.9 from the top 12. 2008 saw a similar slump in the September 5-7 frame.

But not since late September in 2001 have they dropped quite so low.* The September 21-23 frame in 2001 earned $59 million overall and the top 12 made $43.5 million. The year before, September 15-17 fell to $53.7 million for the weekend and $37.9 for the top 12.

Back to the current day, once again, “Hitman’s Bodyguard” and “Annabelle: Creation” will top the charts for Lionsgate and Warner Bros., respectively. “Bodyguard” is expected to earn $10.1 million from 3,377 theatres — combined with last weekend, its total domestic gross should be $39.6 million. And “Annabelle” will make $7.4 million from 3,565 locations, raising its current domestic cumulative audience to $77.9 million.

“We expect it to continue to perform well right into September,” said Lionsgate’s distribution president David Spitz.

Otherwise, TWC made two of the weekend’s biggest plays with the animated feature “Leap!” and the expansion of Taylor Sheridan’s “Wind River”. The former opened at 2,575 locations in North America, and is expected to take in $5 million. The film was acquired for a low cost of $3 million, and under its title in every market outside of the US, “Ballerina”, has already picked up $58.2 million from foreign locations. It is billed as a musical adventure comedy about an orphan girl who aspires to become a dancer. The voice cast is led by Elle Fanning, and also includes Maddie Ziegler, Carly Rae Jepsen, Nat Wolff, Kate McKinnon, and Mel Brooks. Critics smushed it to 37 per cent on Rotten Tomatoes, but audiences earned the film an A CinemaScore.

“It’s a tough weekend out there in the marketplace when a $5 million movie is ranked third,” remarked Laurent Ouaknine, distribution boss at TWC. “On our side, we have a film that audiences love,” he said, adding that, while the audience is predominantly young and female, they’re seeing that boys “that are coming with their family like it too”.

“Wind River”, meanwhile should make an additional $4.4 million this weekend from 2,095 locations. The film, now in its fourth week of release, is intended as the conclusion of a trilogy that includes “Sicario” and “Hell or High Water.” During its first weekend at four theatres, the thriller scored one of the year’s best per-screen averages, but its mass appeal seems more questionable. “Hell or High Water”, which earned a best picture nomination at the Oscars, also made $4.4 million during its fourth weekend, but from fewer locations (1,303).

“We did decide to go a little bit wider,” Ouaknine said. “We saw the room in the marketplace and that there was nothing new out there for the intended audience,” he added, touting that TWC is responsible for two of the top five films in the marketplace.

Also, “Birth of the Dragon” is opening at 1,618 locations to $2.5 million. That’s below the $3.25 million goal set by the distributor. BH Tilt and WWE Studios co-acquired the film after its premiere at the 2016 Toronto Film Festival. The marketing campaign was inexpensive and focused on digital promotion, and targeted events. The movie — an homage to Bruce Lee’s style of martial arts films — lends its inspiration’s name to the main character, played by Philip Ng. Set in 1960s San Francisco, Lee challenges kung fu master Wong Jack Man (Xia Yu) to an epic fight.

And Sony’s “All Saints”, from Affirm Films and Provident Films should earn $1.55 million from 846 locations. The faith-based film has a low budget, and is generally embraced by critics (89 per cent on Rotten Tomatoes) and audiences (A- CinemaScore). John Corbett and Cara Buono lead the cast of the flick, directed by Steve Gomer. Steve Armour wrote the script, based on a true story, that centres on a salesman-turned-pastor and a group of refugees from Southeast Asia.

Despite the recent popular assertion that movie releases are moving to a year-round schedule with fewer dead zones, August remains a predictably sleepy month for theatres. Still, years past have managed bigger successes than we are seeing in 2017. Last year at this time, for example, Sony’s Screen Gems launched “Don’t Breathe”, which grossed $26.4 million in its opening weekend. While a similar sort of horror hit would be difficult to position between “Annabelle” and September release “It”, there is potential for movies to perform well at the tail end of summer. That “Wonder Woman” and “Baby Driver” saw their theatre counts upped only adds as further emphasis that studios see the hole in the schedule — they just are not quite sure how to properly fill it.

LOS ANGELES — Rapper Kendrick Lamar dominated the MTV Video Music Awards on Sunday as the glitzy gala took a political turn with impassioned denunciations of white supremacists in America. 

Lamar won the most prestigious award of Video of the Year for “HUMBLE”., his ironic look at his growing fame in which he dresses up as everything from the Pope to Jesus in “The Last Supper”.

Lamar opened the show in Los Angeles with a martial arts-themed performance with ninja dancers, one of whom eerily appeared to set himself ablaze.

One of the most acclaimed rappers of recent times, Lamar took home six statuettes — rechristened the “Moon Person” from “Moonman” to be gender-neutral. 

English songwriter Ed Sheeran won Artist of the Year, a new prize after the separate male and female categories were merged, while rapper Khalid won for new artist.

While Lamar’s latest album “DAMN”. toned down his earlier political bent, the globally televised awards gala itself did anything but. 

The mother of Heather Heyer, the 32-year-old anti-racism protester killed when an avowed white supremacist drove into a crowd during the August 12 unrest in Charlottesville, Virginia, took the stage and vowed to “make Heather’s death count”.

Controlling her emotions as the crowd applauded, Susan Bro announced a foundation in her daughter’s name to offer scholarships to pursue careers in social justice.

Bro presented “Best Fight Against the System”, a new award that recognises activism in a music video. In the spirit of equality, Bro said all six contenders would share the prize.

The songs ranged from attacks on racism to “Scars to Your Beautiful” by rising star Alessia Cara, an ode to healthy body image which she performed at the awards, dancers around her rustling her hair and removing her oversized dress.

The singer PINK also took up body perceptions as she accepted an award for lifetime achievement, saying she gave a PowerPoint demonstration to her daughter about successful androgynous musicians after the six-year-old voiced doubt about her femininity.

Sharp words for Trump

Paris Jackson, a model and the daughter of the late “King of Pop” Michael Jackson, also lashed the white supremacists who marched in Charlottesville. 

“We must show these Nazis,” she said to cheers, “that we have zero tolerance for their violence and hatred.”

With Texas being whipped by massive storm Harvey, the gala sent best wishes to residents in harm’s way. Host Katy Perry asked viewers to consider donations to the American Red Cross.

Perry used wires to float onto the stage in an MTV-style moonsuit before an evening of shifting attire, ending with the singer back in the air to slam-dunk basketballs during her song “Swish Swish”.

Perry took aim at President Donald Trump as she urged fans to choose a winner in a category still open to online voting.

“This is one election where the popular vote actually matters,” quipped Perry, one of the most vocal celebrity campaigners for defeated candidate Hillary Clinton. “But hurry up before some random Russian pop star wins.”

MTV invited transgender US servicepeople to attend the show — two days after Trump ordered a ban on new transgender recruits in the military.

Taylor goes gothic

Pop A-lister Taylor Swift used the awards to unveil the video for her latest song, “Look What You Made Me Do”, in which she showed a new dark, bad-girl image.

The camera opens with imagery of a cemetery and a grave that says “Here Lies Taylor Swift’s Reputation” — a theme that will apparently weigh heavily on Swift’s newly announced album, which is entitled “Reputation” and comes out on November 10.

The 27-year-old singer, usually known for her squeaky-clean image, appears in the video in a crashed car, smashing up a store with a baseball bat and sitting atop a motorcycle in a spiked leather jacket.

Jared Leto of Thirty Seconds to Mars paid tribute to two rock singers who committed suicide this year — Chester Bennington of Linkin Park and Chris Cornell of Soundgarden — before putting on a trippy performance with thermal cameras.

The rapper Logic, joined by Cara and Khalid, reinforced the anti-suicide message singing “1-800-273-8255” — the title a reference to a help line, with the number emblazoned on the T-shirts of dozens of people who had attempted suicide and joined them on stage.

On a lighter theme, pop great Rod Stewart sang a new take on his 1978 hit “Da Ya Think I’m Sexy?” — this time with much younger dance group DNCE.

A visually arresting sports crossover SUV with authentic sporting credentials but when first launched as the FX back in 2003, Infiniti’s enduring signature model was extensively evolved for a second generation circa 2009.

Renamed the QX70 as of 2013, its influence on the now burgeoning sports SUV segment has been significant if somewhat unrecognised by rivals. And even now, on the eve of its retirement, the QX70 remains a truly unique vehicle, with inspired and viscerally-charged design, dynamics and drive-train that is engaging and rewarding like scant few others.

Dramatic and charismatic

Stylish and evocative, QX70 could have been mistaken for a European exotic when it first arrived, and remains as sexy as ever today, with its long bonnet, side vents, short overhangs, rakish roofline and rearwards cabin design all alluding to its sports car intentions, underpinnings and layout.

With its swooping lines, scalloped wings and pert rear, the shark-like QX70 seems to be sitting on its rear, with an athletic stance, distinct sense of urgency, and the long distance between its wheel-arches and A-pillar lending it and indulgent, luxurious and sporty profile.

Underneath, the QX70 is built on a front-mid engine platform with the engine positioned just behind the front axle for balanced within wheelbase 53:47 front-to-rear weighting. It also features sophisticated front double wishbone, rear multi-link suspension and rear-drive derived and biased four-wheel-drive system for sports car-like driving dynamics.

A baroque design with a palpable sense of motion and the dramatic, it features slim, browed headlights and broad, deep-set and hungry honeycomb grille and dual big bore tailpipes at the rear, while in the sportier QX70S trim, as driven on Jordanian roads, it fitted vast 21-inch wheels to better fill in its discretely bulging wheel-arches.

Urgent and exacting

Likely to be replaced by a smaller displacement turbocharged engine in the QX70’s eventual replacement, the current VQ-series naturally-aspirated 3.7-litre V6 with variable valve timing and lift, is, however, a true gem. 

Developing 329BHP at a haughty 7000rpm, it is a velvety smooth, urgently progressive, engaging and exacting engine with superbly precise throttle control to allow one to dial in perfectly measured increments of power and grip versus slip through a corner. Long-legged and high-revving to 7500rpm rev limit, the QX70’s engine allows one to maintain a consistent yet, uninterrupted power build-up through fast sweeping corners.

Pulling hard and responsive from tick-over to redline, the QX70’s charismatic V6 is gutsy, punchy and incremental with toque peaking at 267lb/ft at 5200rpm, if at 13l/100km combined, is slightly thirstier than more modern yet, less rewarding engines. Acceleration through the 0-100km/h benchmark takes just 6.8-seconds or less, and top speed is 233km/h or more.

Refined and quiet at low rev, the QX70S’ acoustics rise from discreet thrusting, whirring and whining to a more intense and urgent, yet, subdued wail as revs reach towards the redline. Given the QX70S’ visceral character, an optionally more vocal and evocative exhaust note would not have been amiss.

Fluency and feel

Peaky, precise and with pin-point throttle control, the QX70S is still a benchmark in its segment after all these year. Driving all-four-wheels through a smooth and swift shifting 7-speed automatic gearbox, with responsive manual mode shifts actuated through fixed column-mounted magnesium paddle shifters, the QX70S also features downshift rev matching that automatically blips the throttle on downshift, for more fluent driving. 

Rear-biased up to 100 per cent and able to send 50 per cent to the front wheels when necessary on low traction surfaces and for road-holding, the QX70S handles with rear-drive balance and sporting panache, but can claw back grip when necessary.

Benefiting from rear-drive instincts yet four-wheel-drive road-holding at the limit, the QX70S is about as close as a 1995kg SUV gets to being a sports car. Playful at the rear if provoked while stability controls are in low intervention mode, the QX70S’ chassis is balanced, nuanced and adjustable with a pivot of it weight, while some understeer is evident if pushed too hard into a corner without some finesse.

Firm and meaty when cruising, the QX70S’ hydraulic-assisted comes alive through corners, becoming lighter, more natural and intuitive with better road feel, feedback, resistance and nuance than expected for an SUV riding on huge low profile 265/45R21 tyres.

Classy, comfortable and committed

Stable, committed, refined and reassuring on motorway duties, the QX70S is, however, also, intuitive, eager and agile through winding switchbacks and country lanes. Well-controlling its weight through corners, the QX70S feels tidy in lateral weight shift, while rebound control is settled and buttoned down. 

Last driven as the FX37 on smooth Dubai roads, the QX70S thoroughly impressed one more demanding, textured and winding Jordanian back roads, where it well-processed road imperfections despite its somewhat firm setup and tyres. One, however, felt that perhaps slightly tauter dampers and taller tyre sidewalls would retain fluency while improving suppleness, vertical control on crests and help keep wheels even more firmly dug into the road.

Classy and comfortable with supportive seats and alert driving position, the QX70S’ cabin feels well constructed with quality materials like purple thread stitched leather upholstery and steering, and a sporty dual pod-like design and intuitive layouts. Well-kitted, it features a reversing and bird’s eye view camera to help negotiate tight parking spots and compensate for its low roofline, high waistline and long bonnet.

Evocative when peering over its long scalloped bonnet, the QX70S’ curvaceous wings somewhat limit front visibility in tight spaces, but help one position it through corners. Despite a rakishly sloped roofline, it is well packaged with good rear headroom even for tall passengers and wide door swing angles.

TECHNICAL SPECIFICATIONS

Engine: 3.7-litre, in-line V6-cylinders

Bore x stroke: 95.5 x 86mm

Compression ratio: 11:1

Valve-train: 24-valve, DOHC, variable timing

Gearbox: 7-speed automatic, four-wheel-drive

Ratios: 1st 4.923 2nd 3.193 3rd 2.042 4th 1.411 5th 1.0 6th 0.862 7th 0.771

Reverse/final drive ratio: 3.972/3.692

0-100km/h: 6.8-seconds

Maximum speed: 233km/h

Rev limit: 7500rpm

Power, BHP (PS) [kW]: 329 (333) [245] @7000rpm

Specific power: 89BHP/litre

Power-to-weight: 164.9BHP/tonne

Torque, lb/ft (Nm): 267 (363) @5200rpm

Specific torque: 97.9Nm/litre

Torque-to-weight: 181.4Nm/tonne

Fuel consumption, combined: 13-litres/100km*

Fuel tank: 90-litres

Length: 4865mm

Width: 1925mm

Height: 1680mm

Wheelbase: 2885mm

Track, F/R: 1635/1640mm

Ground clearance: 187mm

Approach/break-over/departure angles: 28.8°/18.7°/20.9°

Aerodynamic drag co-efficiency: 0.35

Headroom, F/R: 998/978mm

Shoulder room, F/R: 1455/1458mm

Legroom, F/R: 1135/879mm

Loading height: 790mm

Kerb weight: 1995kg

Weight distribution, F/R: 53/47 per cent

Steering: Variable-assisted, rack and pinion

Lock-to-lock: 2.96-turns

Turning circle: 11.2-metres

Suspension: Double wishbone/multi-link, anti-roll bars

Brakes, F/R: Ventilated discs, 320mm/308mm

Tyres: 265/45R21

*US EPA

Euphoria

Lily King

New York, Grove Press, 2014

Pp. 261

Lily King’s fictionalised account of a pivotal interval in the life and work of the influential American anthropologist, Margaret Mead, is set in the Territory of New Guinea. Now an independent state in the eastern half of the second largest island in the world, the western section being part of Indonesia, it remains one of the most diverse and least explored areas of the globe.

Think what it was like in the early 20th century, when the first Western anthropologists began to arrive. King’s vibrant, but not overly profuse descriptions of the tropical jungle and its exotic inhabitants are certainly part of the novel’s charm, but not the main one.

“Euphoria” is overwhelmingly fascinating, but more because of the author’s nuanced depiction of the three main characters, their love triangle, and the ideas and emotions which motivate their research and romance. The novel was inspired by Mead’s life, but not in terms of events, for many of these are changed. 

Rather, the story is true to Mead’s spirit and ideas, especially her conviction in the intertwining of the personal and the professional that inspires the very structure of the novel, driving the plot and filling it with romantic and moral tension. For the three anthropologists in the novel, scholarly theories, and their ideas about love and life are so tightly bound together as to defy separation, and it is King’s skilful rendering of this tightness which is her greatest achievement.

In 1933, anthropologists Margaret Mead, Reo Fortune and Gregory Bateson spent some months together on the Sepik River in New Guinea, studying what were considered primitive tribes — the primary subject matter of the profession at that time. While retaining much of the real backgrounds of the three, King assigns them different names and fates. [Mead was actually married to both men, but the novel occurs at the time of her marriage to Fortune.]

Mead’s stand-in, Nell, feels stifled by her husband Fen’s possessiveness. While his priority is gathering relics [ownership], hers is participating in the indigenous people’s social life in hopes of discovering alternative patterns of child-rearing, sexuality and mourning that would make humans more free, compassionate and peaceful than in Western societies. “Always in her mind there had been the belief that somewhere on earth there was a better way to live, and that she would find it.” [p. 107]

In Andrew [modelled on Bateson], Nell finds a kindred spirit with whom she can discuss her theories and discoveries about the tribes they are studying in the expansive, open-ended way she considers productive. This leads her to share with him the euphoria she experiences when she feels she has begun to understand a new society. “It’s a delusion… and it’s followed by the complete despair of ever understanding anything. But at that moment the place feels entirely yours. It’s the briefest, purest euphoria.” [p. 50]

Andrew is lonely, having worked in an isolated area for two years. Encountering Nell is exhilarating. “For so long I’d felt that what I’d been trained to do in academic writing was to press my nose to the ground, and here was Nell Stone with her head raised and swiveling in all directions.” [p. 84] Their falling in love makes the professional team a love triangle. Romantic considerations underlie their mutual discussions, as well as their interactions with the indigenous people. Being the only foreigners in a remote environment furthers compresses their interaction. One does not know in which direction the triangle will explode.

Since that time, anthropology has gone way beyond only studying primitive societies. Yet, many issues raised by the novel, and the ideas debated by Nell, Fen and Andrew, are still relevant. Some of these issues are ethical, such as whether it is admissible to take away valuable relics, or to share detailed knowledge of a locality gained in field research, with armies or intelligence services, and if anthropologists can avoid being identified with colonial enterprises.

Another issue is how anthropology, like some other social sciences, constantly has to prove itself alongside the “hard” sciences. Other questions are philosophical, like the dangers of preconceived ideas about what is “natural” or “normal”, or whether the researcher should go beyond observation to share findings with the subjects and elicit their views.

Most interesting is the question of whether one can truly understand another culture. Andrew despairs of the researcher’s ability to be objective, finding that analyses of other cultures say more about the researcher than about the people under study, whereas Nell is at home with the limits of subjectivity, knowing that it cannot be otherwise and that a person can have only one perspective. “But our perspective can have an enormous wingspan, if we give it freedom to unfurl”. [p. 50]

To enrich the plot and increase its wingspan, King writes from two perspectives, letting Andrew narrate most chapters but interspersing chapters composed of Nell’s diary-like notes. With imagination, insight and authenticity, King has crafted an unforgettable tale of adventure, romance and socially relevant ideas which is hard to put down.

Energy drinks could be a gateway to cocaine use, according to a new study.

Researchers at the University of Maryland School of Public Health found that young adults who said they had consumed energy drinks yearly between ages 21 and 24 were at greater risk for subsequently doing cocaine, using prescription stimulants for non-medical uses and problem drinking.

The 1,099 study participants were recruited as 18-year-old college students.

Those who did not consume energy drinks as they got older were less likely to develop substance-abuse problems.

Amelia Arria, director of the university’s Centre on Young Adult Health and Development, explained that factors contributing to a propensity for risk taking, susceptibility to peer pressure and changes in energy-drink users’ brain that make them like stimulants more.

“Energy drinks are not as regulated as some other beverages. One policy implication is to consider options for regulating the maximum amount of caffeine that can be put in an energy drink.” she said. “Parents need to be aware of those risks when their child or adolescent or young adult wants to make a decision about what sort of beverage to consume. They need to be aware of the potential risk.”

Energy drinks are a booming segment of the beverage market. Last year, North American retail sales were close to $11 billion, up from less than $5 billion in 2007, according to the market research company Euromonitor.

Big names among energy drinks include Red Bull, Monster, Amp and Rockstar.

Anheuser-Busch announced last month that it was acquiring the organic energy drink maker Hiball Energy.

Arria and her co-authors cited existing data that an estimated one in every three American teens and young adults consume energy drinks or energy shots with 50 per cent of college students reporting they have taken them in the past month.

William Dermody, vice president of policy for the American Beverage Association, questioned the methodology and comprehensiveness of the University of Maryland study and said it did not prove causation.

“Mainstream energy drinks have been extensively studied and confirmed safe for consumption by government safety authorities worldwide, including a recent review by the European Food Safety Authority. Nothing in this study counters this well-established fact,” he explained, adding that the US Food and Drug Administration regulates the drinks’ ingredients and labelling.

Dermody said that mainstream energy drinks contain about half the caffeine of a similarly-sized cup of coffee and that they account for about 2 per cent of Americans’ caffeine intake from all sources.