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Culture, Relationships Tim Grierson November 13, 2018
How One Low-Budget Thriller Got the World of Camming Right
The filmmakers behind 'Cam' discuss the aesthetics of pornography, the dangers of living through our virtual selves, and why sex shouldn't equal death in horror movies
In the unnerving new psychological horror film Cam, which comes to Netflix this Friday (and will be playing in select theaters), a young woman named Alice (Madeline Brewer) is luxuriating in her camgirl role as Lola, a friendly, flirty alter ego who's developed a large online community. Alice has carefully crafted every element of Lola — her makeup, her personality, her background décor, what kinds of shows she will or won't do — and bases her own self-worth on how Lola's audience responds to the character. Lola is Alice's pride and joy — her work of art — but what would happen if that work of art were stolen from her? Cam answers this question in twisty, eerie ways, as one day Alice discovers that Lola is online even though she (Alice) isn't. Has someone hacked Alice's account? Or has something scarier and more supernatural occurred?
Cam's sexiest hook is the fact that it's set in the world of camming, a realm of sex work that to this point has largely been ignored by mainstream movies. But for Cam's makers — director Daniel Goldhaber and screenwriter Isa Mazzei, childhood friends who consider their movie a joint collaboration — the intention wasn't necessarily to explore the relative novelty of camming. As Goldhaber tells me, "The interesting thing about Cam isn't that Alice is a camgirl — the interesting thing about Cam is that her identity is stolen."
Sitting in a Culver City restaurant — the same one where they nailed down the deal to get their low-budget movie made — Goldhaber and Mazzei make it clear that they want Cam to start a conversation about how movies usually (and falsely) depict porn and sex workers — topics that are especially important to Mazzei as a former camgirl. But they're just as concerned with how we reconcile with our digital selves: Is that person who posts on Instagram "me"? Or is that just another alter ego?
Cam explores these concerns through metaphor and an increasingly surreal storyline. In person, though, Goldhaber and Mazzei speak bluntly — about her experiences as a camgirl, why she insisted that he had to cam before making the film and how their movie stands in opposition to decades of horror films in which the sexually active characters always die.
Initially, you considered making a documentary about camming before switching to a fictional story. From the outset, did you know Cam was going to be a psychological horror movie?
Mazzei: What we love about horror and genre is that it's often used to talk about taboo topics — it's a medium that people expect to have those conversations. We always knew we wanted it to be genre. We just had hours and hours of conversations where we talked about my own paranoia and fears with camming, anxieties that I had, his relationship with his digital identity… That's where everything started developing.
When you started camming, Isa, were your nervous about it?
Mazzei: I was definitely nervous, but everything I do I'm 100 percent committed and I throw myself in there. I thought about it a lot, and I did a lot of research. I was nervous, like anyone would be, but I was also very much 100 percent in.
What did you learn during your research?
Mazzei: I watched other girls a lot. I figured out what type of camgirl I wanted to be, what I liked about their shows, what I didn't like about their shows. When you're working for several hours a night, every night of the week, you don't want to get repetitive or boring. I had long lists of show ideas, some of which were mine and some of which I took from other girls that I liked.
Did you know your camgirl persona from the start? Or did it change over time?
Mazzei: I definitely had a solid idea of what I wanted her to be like from the beginning. She evolved and grew over the time I cammed, but I definitely had a very curated aesthetic and style. It was very deliberate from the beginning — not just what I wore and my makeup, but also what my bedroom looked like, what pillows I was using, what curtains I was using. All of that was very deliberate.
It's almost like creating a character, developing a backstory for them.
Mazzei: I had a list of traits that I wanted her to have, where she came from. A lot of it was real, but you kind of exaggerate the parts of yourself that you want to show more of and hide the parts of yourself that you don't necessarily want to show. I'm generally a very awkward, goofy person. My persona was a very awkward, very goofy version of me.
Which is interesting, because I can imagine someone else might think, "I can be anyone I want to be. I'm going to be this person who's super-confident. I'll become the person I can't be in my real life."
Mazzei: Something for me that's interesting about camming — this kind of mirrors the journey that Alice goes on — [is that] when I cammed at the beginning, I very much sought validation for myself. It was very important that my cam persona be very real and very true to me. There wasn't much distinction for me between who I was online and who I was offline. That's something that we can see in Alice, too, where there's not a lot of difference between her on- and off-screen.
Goldhaber: What you're talking about are questions about the aesthetics of pornography. It's something that we rarely talk about. We really like to talk about the morals behind pornography, but we don't talk enough about the aesthetics behind porn. It's something that Isa introduced to me from the get-go. I don't think she's giving herself enough credit here — the aesthetic level of curation of the character and the persona and the space and the costuming — it was something that I hadn't thought about before.
Mazzei: It's kind of like meeting Twitter [personalities] in real life — it's the same when you meet a camgirl in real life. I had girls that I thought were very much one type of person, and then when I met them, they were entirely different. It was because they had this very defined person that they were online.
Goldhaber: In the same way that in film you have aesthetics [that] imply representation, you get into a similar thing with pornography. [Porn] is just a type of filmmaking, and the aesthetics of that approach also have a lot to do with the aesthetics of the representation of that approach. After we started working together — I'm a porn consumer — I started noticing editing in porn and how it was changing the way I was engaging with that work. It kind of changed my taste. The way that Alice curates her space and curates her persona, we're really hoping that people walk away from the movie with the idea that, oh, there's a craftsmanship here — and there's a story behind that craft.
For years, horror movies have been about serial killers murdering sexy, beautiful young women. Sex is punished in those movies. A film like Cam could be a cautionary tale: "She's being put through hell because she's a bad person who cams." I'm guessing that's something you wanted to avoid.
Mazzei: It was absolutely imperative from Day One that the negative stakes couldn't be derived from the protagonist's decision to be engaged in sex work. We had a manifesto, actually, where we wrote down all these rules for ourselves to follow. That was Rule Number One. That was non-negotiable. As a sex worker, I was really tired of seeing those problematic representations of women where they're just used as props — pretty things to be killed in horror.
Also, I was frustrated with this moralization of sex or the decision to engage in sex work. So often, sex workers are portrayed as victims to be saved. That was so frustrating to me, because I felt like it was so inaccurate to most of the sex workers that I knew. Furthermore, it impacted me in my life, because I was very out about being a sex worker, and people were constantly trying to "save" me. Men were trying to save me. Bartenders were trying to save me. My friends' parents were trying to save me. It was so frustrating, because I feel like we're so informed by the media we consume, and there was no media that was accurately representing me or my friends. We wanted to tell a story where an audience might empathize with the sex worker — but more than that, that they'd empathize with her lack of agency.
Something that I think is so cool is the movie is only scary if you can feel that lack of agency. You can only feel that lack of agency if you acknowledge that she had it in the beginning. That in and of itself is extremely subversive, if you think about it, because in order for the film to feel scary, you're feeling that a sex worker has agency in her sex work, which is incredibly powerful. That was just non-negotiable for us.
Goldhaber: It took a long time to figure out how to do that. But then we pointed to Whiplash and Black Swan and these kind of "brave artist" narratives: "Let's treat camming like the art form that it is, and then let's look at these other cultural examples of how we represent great art." It was one of the reasons, among other political reasons, that we didn't want to give a concrete reason of "This is why Alice is a camgirl." If you look at Whiplash or Black Swan, [you think] "It's just something inside of them that makes them want to perform, that makes them want to do this work."
At the script level, almost every single executive we talked to was like, "You got to give me a reason here to empathize with her." I think what's so awesome about the film is that we don't get audience members being like, "I need to know why she cams." That's a testament to Isa's writing and a testament to [Brewer's] performance and the empathy behind that performance where you immediately just identify with these very universal ideas of ambition and self-validation as an artist that that character has.
What do movies about sex workers get wrong?
Goldhaber: I think that many movies about sex work, in some capacity, exotify the sex-work component of the film — where the interesting thing about the movie is that it's about sex workers. That's the lens. The interesting thing about Cam isn't that Alice is a camgirl — the interesting thing about Cam is that her identity is stolen.
What's important is also that Cam is told from her perspective in which she doesn't find her own experience exotifying. I don't think that there's anything inherently wrong with the interesting thing about a film being its ethnographic information. But I think that it's the limited number of other movies about sex work with different perspectives that we're trying to engage with.
In the press notes, the two of you say in a joint statement, "[W]e see this as a shared vision — a blend of male and female perspectives." How did that blend actually work while making the film?
Mazzei: Danny studied film, and I didn't. His craft was directing the film — it wouldn't be half as beautiful or incredible a film without his expertise there. But he did learn from an industry with a history of objectification of women — the male gaze.
For example, there was one point where they were framing a shot on Madeline's bowtie. That's what he learned: "This is how you frame a bowtie." But what I saw from an outside perspective was a woman's breasts on screen without her face, which is a male-gaze shot. That wasn't the intention behind the shot — they were just framing the bowtie. It's those things that were so front-of-mind for me — not just as a woman, but as a woman coming into this very aware of the politics behind it. I ran onto set and I said, "Okay, we need to pan the camera up — "
Goldhaber: — I'm like, "There's nothing wrong with it. Just tying the bowtie. What are you talking about?"
Mazzei: We had those conversations [with me] explaining why it's a male-gaze shot and them explaining why it's the best shot of the bowtie — and arriving at the conclusion that we did need to pan the camera up, because we do need to constantly correct for this legacy of the male gaze in cinema. More than that, it was really useful to have this marriage of male and female on set, because that's what camming is. It's not just a feminine experience in this female space — most of Alice's viewers are men. She's interacting with men. I think it does the story justice to have both viewpoints on set.
Goldhaber: Part of my impetus for wanting to do this film was that we started working on it at a time in my life where I was recognizing I maybe have some really unhealthy attitudes and relationships with the women in my life. I wanted to reckon with those and wanted to reckon with the way that I had been socialized as a young man in this country and correct that and rewire my brain. I think that this was a really amazing opportunity to do that and to learn from Isa and to take advantage of her generosity and her wealth of expertise.
Early on, a lot of our conversations were just her taking me through her life and giving me the opportunity to see snippets of that and to be like, "Oh, this is the experiences from the female point-of-view that I'm not having. Let's take those lessons and put them in the movie."
Mazzei: Also, I made him cam. I felt like that was something that would be valuable to him. That was kind of a deal term of him directing the movie: "If you're going to direct a movie about a camgirl, you have to cam."
Goldhaber: What was really interesting is it wasn't about me being like, "I'm going to walk away from this knowing what it's like to be a sex worker," because there's a whole world around that that I wasn't engaging in. But it was, "I'm going to walk away from this knowing what it's like to put my body in a very vulnerable position on the internet and try to sexualize myself." You're there, you're naked, people are asking you to do things for free. You're starting to figure out, "How can I get these people to pay me money?" Being asked to do things for free is the life of being a sex worker: "How do I sexualize myself in a way where people want to pay me money?" All of a sudden, I'm starting to think about my male performative gender in a way that I've never thought about it before.
What I will say is the process of making this movie helped me release myself from feeling like I had to perform "male." It made me recognize maybe I don't fully identify as a masculine person. I have definitely repressed a bisexuality in myself that the process of making this movie allowed me to openly acknowledge. I hate the framing of "coming out," but I absolutely started more openly dating men, which is something I've always wanted to do but never felt like I could. On a very personal level, it was a very transformative experience for me in that way of letting go and recognizing my performative masculinity.
Isa, your pinned tweet mentions Cam's high Rotten Tomatoes score with the comment, "I dedicate this 91% [fresh rating] to everyone who slut shamed me in high school." Has the movie been a validation of sorts for what people put you through when you were younger?
Mazzei: Absolutely. As someone who was slut-shamed mercilessly in high school, and then kind of became a sex worker — which is the pinnacle of sluthood, if you will — I'm so proud of the work that I did as a camgirl, and I'm so proud of the work that I'm doing now. None of it would be possible if I weren't a slut. It's this incredibly validating thing to say, "Not only am I happy with my choices and not only am I proud of myself, but look at the conversations that people are having now because I'm a slut." That's absolutely fantastic.
The tweet is a little snarky, but at the end of the day, some of the people who actually did slut-shame me in high school have come to me and congratulated me on the film and engaged with it to say that I'm really brave or that they're proud of me. That's been very moving as well, because it's kind of seeing how we've all grown up since then and are able to engage respectfully with different viewpoints.
Speaking of becoming adults with broader perspectives, I definitely remember growing up consuming media where sex workers were always portrayed as damaged souls in need of rescuing. As a guy, you felt like it was your job to be the big hero.
Mazzei: Oh yeah, people still come up to me after screenings and ask if I'm okay now. Or there are a lot of comments in the press about me where they say, "Oh, well, thank god she's not camming anymore."
The problem comes from our puritanical values around sex, because most labor is exploitative in some capacity. For some reason, we demand of sex workers that their work be empowering. We don't demand that of any other job. It's literally just the fact that it's sex and we're scared of that. I think that it's so unfair to negate a woman's agency because of that.
Furthermore, there's this narrative about how all sex workers are damaged — I would like to address that to say we all have damage. Even if sex workers are damaged, that doesn't negate their ability to make the right choices for themselves and their body. We have this tortured-artist trope where we revere these tortured artists. Then we look at a sex worker and we say, "Oh, you're damaged. Your choices are not okay. I have to save you." It's just such a double standard.
It may be hard for some to accept that Alice learns not that camming is bad, but that she can't base her self-worth on her camming identity.
Mazzei: That was something that I had to learn. Lola came from this idea of, "Okay, where do I end and where does my porn persona begin?" But she also comes from this very real experience of having screen captures of my show pirated and pasted all over the internet without my name or credit to me on them. That's where that gunshot scene comes from. [Editor's note: In the movie, a camgirl puts a gun in her mouth, shocking and intriguing her audience.] It's a metaphorical representation of this sense of violation and loss of agency over my body, because I'm watching my body in a sex act without my name on it, real or porn, just no name on it. That loss of control over my body was absolutely terrifying.
Cam wrestles with our uneasy relationship with our digital selves. Did you find any new insight for yourselves about how to navigate that relationship?
Goldhaber: Yes, but not in the way I think it should have. I didn't really post online before I made the movie. I've always been a consumer of online content, but I've never wanted to be vulnerable enough to put myself online. But weirdly, in making the movie and in recognizing how much of online life is a performance, it made me more comfortable posting, because I stopped trying to validate myself. I started learning from Alice's lesson. I started more actively curating an online persona and identity for myself, partially for publicity reasons, but I started feeling more comfortable doing that. I started being more aware of the kind of craftsmanship behind digital identity.
In some ways, I feel like we have to accept that the virtual version of ourselves is simply not us.
Mazzei: We need to make peace with that, and we need to be aware of that — and we need to be aware of that when we consume other people's content, too. Even if you think you're being super, super real, the fact is you can't be real on social media, because you're deciding what to post and what not to post. Unless you're literally live-streaming your life 24/7, it's not going to be real. Even that isn't going to be real. We just need to be aware of that and protect ourselves from comparison or thinking that these curated lives that we're consuming are better than ours or happier than ours, because they're just not real.
Goldhaber: One of the most terrifying and least-remarked-upon parts of the movie is the series of interactions [Alice has] after Alice's account has been stolen. People start taking that [online] version of her more seriously [than the real person]. [Characters] think that this [real] person is a con artist who is a lookalike of the actual online person.
Mazzei: Again, this comes from my experience [with] camgirls who I first knew online and then meeting them offline. Somehow, because you've spent hours consuming their online identities — these super well-lit, airbrushed versions of themselves — when you meet them in person, they somehow feel less real and less tangible. That is so terrifying.
There are clichés of sex workers that Cam eschews — stripper with the heart of gold, etc. — but I was curious how you approached depicting Alice's viewers, like Barney, who's a loyal customer and a seemingly decent guy who ends up surprising us. What are cam viewers like?
Mazzei: Barney, for me, represents some men's idea of ownership over women — and particularly, over sex workers. There's a moment that's pretty subtle in the film where someone [off-screen] shouts something, and Barney shuts his laptop [while] he's talking to her. That moment, for me, is to demonstrate he's ashamed of what he's doing — he's hiding it from someone, whoever that is. But at the same time, because he consumed all of this content, he thinks that he has some sort of ownership over [Alice].
That absolutely was my experience with some cam viewers — they thought that they owned me. They thought that they had a right to know personal information about me. They thought that I owed them something more than what I was offering because they paid for my services. You wouldn't go into a store and buy something and then demand something else for free, but with sex workers it's something that we encounter very commonly — especially because you're selling emotional intimacy as well as sexual intimacy. When you're selling an emotional intimacy, it can be difficult to enforce boundaries with viewers who demand more.
My viewers were some of my closest friends. I'm still in touch with some of them. Some of them I have genuine friendships with. For the most part, they were extremely respectful. They're still extremely respectful. Now that I'm out, they're finding me online, and they're messaging me and saying, "Oh, is it okay if I follow you? Is it okay if I engage with you in the real world?" I think that a lot of the reality of camgirl viewers is they're normal people with families, jobs and lives, and for whatever reason, they're choosing to engage in this industry. I don't think they should be shamed or judged at all.
Tim Grierson
Tim Grierson is a contributing editor at MEL. He writes about film and pop culture for Screen International, Rolling Stone and Vulture.


In the last article, we looked at companies providing Payroll services via Product and Product + Service model. We looked at some notable names like ADP, Ramco, MyAdrenalin & PeopleStrong in detail. At the end of the last article, we also provided you with a list of few other players in an alphabetical order.
In this article now we will focus on companies which are exclusively focused on the Indian market. While one can argue that companies like ADP, PeopleStrong mentioned above have equally capable India Payroll services, our objective here is to present you with views from different perspectives.
Hence in this article, we will largely talk about companies who provide Payroll Products or Products + Services in the Indian market only. By doing this we are not saying they have better capabilities than the larger, multi-country payroll service providers, but simply giving you another set of companies to consider in your evaluation process.
Like we mentioned earlier, while selecting any HR Tech in general, we strongly recommend you start with your business context & needs – current & future, to help you evaluate the available options in a more objective way.
The Indian payroll market is extremely crowded at this stage in terms of the number of players and options that are available to the buyer.
As seen in the case of the global payroll market – we see the same trends here in India too. There are companies which provide payroll as a service – wherein they could be using any product at the backend & the client does not really participate or dictate the product. These are typically accounting firms & many SMB players prefer this arrangement as it ensures that along with all accounting related activities the payroll processing is taken care by the same firm. Here the onus to provide accurate & timely attendance data along with addition & deletion of employee & their salary records are on the client company.
The other category of players – which have seen a rapid growth in last few years – are players who offer cloud-based Payroll services. Here the client company sets up their own payroll rules, integrates the attendance record system & thus can run payroll themselves. In our experience, if you are dealing with a cloud-based product company, you would be better off if you have some domain knowledge of the payroll aspects as it would help you evaluate & ascertain the solution / product features effectively.
The third category is where the product company also offers services & manages your payroll in a completely outsourced manner. Players mentioned in the earlier article like PeopleStrong, TCS iON, have an exclusive focus on SMB and are able to offer competitive deals via Platform –as –a –Service offerings.
Since there are so many options and varieties available in the Indian market – the decision to select the right solution & provider is really a tough one. One could very easily get bogged down and frustrated with the plethora of options available and one's inability to evaluate them consistently & objectively. If one takes a decision based on other people's opinion or experience it may not work out as your needs & business context might be very different.
Hence we recommend to put in some simple criteria. We have considered following assumptions – which are based on our understanding of the SMB space & interactions with some sample SMB owners and HR folks in the SMB sector.
Given these assumptions, we now present to you few players which we believe you should consider as an SMB owner/HR leader while evaluating a payroll solution for your business.
The evaluation is done based on the information available on the company website and any other web based source, this is the list of top companies who you should evaluate for Payroll & Leave & Attendance systems in SMB sector. Please note this is not a ranking but just an alphabetical order.
Here again, typically you will find national & local players. So if you prefer a more local player than a national player even within this space then you would have to dig further. However, my recommendation for you would be to stick with national players as far as possible as it gives you more stability & more importantly scalability for your growing & changing needs.
I call this company the best-kept secret of the digital world as they do not show up on many of the search strings I tried & in some cases, they figure beyond page 2 thus clearly indicating the lack of focus or efforts on making their presence felt in the digital space. However when one looks at their customer base & their track record in the Indian payroll market especially from an SMB perspective one wonders why would they choose to keep themselves off the digital playground.
Eilisys seems to have an extremely comprehensive product – they focus only on this space & which is a big plus being a pure play payroll & attendance management player. They have a very good customer base who seems to have migrated to their solution from bigger/global names which is the testimony of the robustness of their product.
With a long standing record in payroll processing for about 20+ years in the country, GreyTip definitely stands out as a competent player in the payroll & attendance product/service market.
Unlike Eilisys – Grey Tip offers the SaaS along with Mobile App. Grey Tip also boasts of good customer base and very impressive product features at a very very competitive price point. The fact that I can see the pricing on their website is a big plus from an SMB perspective.
They do a fair job of being found on the digital marketplace & hence I am sure you would encounter them if you were doing a web search of your own.
As an SMB player since this is pure SaaS I would want to evaluate in much more detail about "assumptions" of capabilities at my end being made in the software implementation. I would have to ensure that person in my team understands all aspects and is being supported to ensure I get the full value from the investment, however, small it may seem at first.
This is again a full scale HCM product which has payroll as one of the modules. While for the purpose of the comparison we are only focusing on their payroll related capabilities.
Founded in 1996 thus giving us the confidence of an established player, this company does figure in most of the web searches you would do on payroll. Their product from a payroll point of view seems to cover all the basics that one would expect from such a product.
A word of caution on such web only – players purely because there are some implicit assumptions at play – as I mentioned in the Grey Tip review. You would have to critically assess not only the software capabilities but also your own capabilities to ensure the software will work for you.
I know, if you are an SMB owner or HR person and have come this far, you are wondering – Can I really afford ADP Or Ramco Or PeopleStrong? – Well… I haven't gone to that level of detail with this study at this stage, however what I can provide you is a comparison of pricing based on what some of the companies have put on their website – Mind you this is purely the SaaS based product pricing – which means that you still have to consider the effort of your own team to ensure that the chosen SaaS product works the way you want it to – aka –setup the product & configure the rule of your organization – by far the most critical aspect of any technology implementation.
The table gives you a comparison of cost per employee per month for various companies who featured in either of the lists mentioned above. I ensured that all products compared here would have Attendance Management/Integration, Leave Management, and Employee Self Service along with Payroll management.
Disclaimer: This information has been taken from the respective company website is subject to changes to the specific companies pricing policies or disclosures from time to time. Kindly refer to the respective company websites for latest pricing information. It's very evident here that larger and a bit more established player are charging a premium than the newer entrants in the market & hence if you are a decision maker you need to ask the established player – What is the premium for? What is that the established player is able to do which the newer player can not?
What is not here are local midsized service providers who would manage your payroll process for a flat fee per month- typically most accounting firms do this work. Since that's a much wider pool and purely service based it was not considered for the purpose of this exercise.
Some of the newer players in the market , example – Playbooks – via Intuit and an interesting new player Quickchex is not here.
While both were considered in the overall set of companies it's not showing up in the final list as it's not a matured product in the market as yet.
How do I implement the chosen solution in my context to ensure it survives & thrives – this is largely linked to how good a job you have done on #1 above.
I hope that this series of article on the Payroll & Attendance solution has given you some insight into the vast pool of options available before you while also giving you some broad / simple framework to arrive at short listing of companies that you are considering.
Disclaimer: This is not a comprehensive list of players, and the opinions expressed are those of the author. Please write to us at editorial@peoplematters in case you know of great products in HR technology and services that you would like us to consider.


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Circus performer didn't have to jump through hoops to buy narrowboat from Braunston Marina
Business owner suffers cardiac arrest while trying to put out a house fire at his south Warwickshire business - but firefighter saves his life
Council responds to anger over rise of up to 56 per cent on parking charges across Warwick district
Warwick District Council has raised prices at its 14 off-street car parks in Leamington, 12 in Warwick and three in Kenilworth
Angry residents have raised concerns about increases of up to 56 per cent for prices at all 29 of Warwick District Council' s (WDC) off-street car parks, which came into effect this month.
The authority has raised prices at its 14 car parks in Leamington, 12 in Warwick and three in Kenilworth.
This is the second time in 12 months that the council has made such hikes.
Parking machine.
On a post about the price hikes one member of the Leamington Spa Noticeboard Facebook group said: "Just to let everyone know that WDC have put up parking charges up in the off street car parks.
"[It's gone] from paying £4.85 for all day just before Christmas to this morning having to pay £7.20 is .absolute madness.
"I work in Leamington for an independent retail business, how are we supposed to survive when all the council seem to be doing is driving our customers to shop out of town?
"[It's] unbelievable."
St Peter's multi-storey car park in Leamington.
Another said: "[This is an] absolute joke.
"And they wonder why so many shops are closing down, it's easier to go to the retail park, especially when you have young kids that can't necessarily walk too far."
And another added: "Greedy council, for a lot of people that charge represents nearly an hours work."
The changes, agreed by cabinet and full council in November, includes a flat rate introduced seven days a week as opposed to the previously lower Sunday prices.
The Covent Garden surface and multi-storey car parks in Leamington.
In Leamington, the all-day maximum charge to park at the Royal Priors and St Peter's car parks is now £8.
The maximum charge at car parks in Warwick is £7 while some of the town's car parks have different incremental charges per hour.
All day parking on a Sunday in Kenilworth has jumped from £4.50 to £6.30 - an increase of 40 per cent - while overnight parking on a Sunday has also risen, from £1.50 to £2.
Four hours' Sunday parking has risen in the town from £2.50 to £3.90 - a 56 per cent rise - and three hours' parking on a Sunday is up from £2 to £3.
Three hours' parking Monday to Saturday is up from £2 to a £3 flat rate across all seven days.
Similarly, four hours Monday to Saturday has increased from £3 to £3.90.
Parking in some car parks, such as Abbey Fields in Kenilworth, will remain free for the first two hours.
A council spokesman said: "In November 2021 Councillors approved the recommendation to raise the tariffs in all off-street car parks managed by Warwick District Council. At the same time the Council has made additional adjustments to align the charging structure of all off-street car parks in the district.
"These changes have been made in response to the changing habits of visitors and shoppers and the effects of increased hybrid working which has reduced the demand for season tickets and is coupled with the need to cover the costs of maintaining, operating and ensuring the safety of these facilities for which the Council receives no other income.
"The introduction of one-hour incremental parking rates and the phasing-in of cashless parking and new ways to pay including RingGo (app, call, text or online), contactless by Credit/Debit Cards and Apple Pay will ensure the Council's parking facilities are more flexible and user-friendly."
To check the new prices click here.
Warwick District CouncilLeamingtonCouncilFacebook

redpajama_set_name: RedPajamaCommonCrawl


After the unlucky attempt of last year, Elton John will be in Venice next 9 July for his concert, still in St. Mark's Square, during his tour RocketManShow. The concert will be held sponsored by the project S.M.S. Venezia that will also bring some other great concerts in Venice the goal is to gather funds for the preservation of the Splendid St. Mark's Square.
As usual the Hotel Saturnia will be able to give you tickets for the concert of Elton John in Venice on the 9th of July and obviously all via our online reservation system simply selecting the desired event.
The cost to add 2 tickets, is of 170 euro and will include a bottle of italian sparkling wine Prosecco, since is a very attractive event we strongly suggest to take your Tickets now!
Will be held in Venice in the magnificent St. Mark's Square the double concert of Elton John in Venice and its " The Red Piano Show " already held, with a great success at Las Vegas.
Elton John venice concert will be on the 5th and 6th of June 2007 and the organization of it is given to David La Chapelle.
The English singer, that has become 60 years old not long ago (last 25 March) will have concerts in Siviglia, Parigi and Berlin as well.


text:
JAMES TURRELL - LOOKING AT LIGHT
For over half a century, the American artist James Turrell has worked directly with light and space to create artworks that engage viewers with the limits and wonder of human perception. Turrell, an avid pilot who has logged over twelve thousand hours flying, considers the sky as his studio, material and canvas. New Yorker critic Calvin Tompkins writes, "His work is not about light, or a record of light; it is light — the physical presence of light made manifest in sensory form."
Informed by his training in perceptual psychology and a childhood fascination with light, Turrell began experimenting with light as a medium in southern California in the mid-1960's. The Pasadena Art Museum mounted a one-man show of his Projection Pieces, created with high-intensity projectors and precisely modified spaces, in 1967. Mendota Stoppages, a series of light works created and exhibited in his Santa Monica studio, paired Projection Pieces with structural cuts in the building, creating apertures open to the light outside. These investigations aligning and mixing interior and exterior, formed the groundwork for the open sky spaces found in his later Skyspace, Tunnel and Crater artworks.
Turrell often cites the Parable of Plato's Cave to introduce the notion that we are living in a reality of our own creation, subject to our human sensory limitations as well as contextual and cultural norms. This is evident in Turrell's over eighty Skyspaces, chambers with an aperture in the ceiling open to the sky. The simple act of witnessing the sky from within a Turrell Skyspace, notably at dawn and dusk, reveals how we internally create the colors we see and thus, our perceived reality.
In 1974 Turrell began a monumental project at Roden Crater, an extinct volcano in northern Arizona. Continuing the practice begun in his Ocean Park studio, Turrell has sculpted the dimensions of the crater bowl and cut a series of chambers, tunnels and apertures within the volcano that heighten our sense of the heavens and earth. While Roden Crater is not yet open to the public, Turrell has installed works in twenty-two countries and in fourteen US states that are open to the public or can be viewed by appointment. Agua de Luz, a series of Skyspaces and pools constructed within a pyramid in the Yucatán, and forthcoming projects around the world, from Ras al-Khaimah to Tasmania, integrate many of the principles and features embedded within Roden Crater.
Turrell's medium is pure light. He says, "My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of wordless thought."
http://jamesturrell.com/about/introduction/


text:
\section{Introduction}
Recent developments in material science have made possible the fabrication of photonic crystals that allow the observation of many peculiar effects \cite{joann08}, including perfect reflector for all polarizations over a wide selectable spectrum \cite{john,oscar},optical Hall effect \cite{OMN2004}, unidirectional scattering \cite{haldane08} with broken time-reversal symmetry and the propagation of optical beams without spatial spreading. The latter, known as supercollimation, has attracted a lot of attention in various fields of physics. Supercollimation effect has been observed in mesoscopic ($\sim 100 \mu m$) \cite{Kos99, Kos00, wu03, prather04, pustai04, shi04} and macroscopic centimeter-scale photonic crystals \cite{rakich06, miller06}. The latter results indicate that supercollimation effect is very robust and insensitive to possible irregularities or short-scale
disorder in the photonic crystal structure. A standard mechanism that can account for the supercollimation effect of light in two-dimensional photonic crystals is the flat character of dispersion curve $\omega(\vec q)$
in the transverse direction due to the interference of the different transverse
components of the wavevectors (see, for example, Ref. \cite{prather09}).

However, as we will show below, in diluted photonic crystals (DPC) exists another physical mechanism, based on photon's transversal motion restriction, that can lead similar to supercollimation effect \cite{prather09}. The basic idea of this model can be easily understood by considering the following geometry shown in Fig.1. First, suppose that a photon falls on the plates normally on $0x$ direction. In case if the photon's wavenumber $k_x$ lies in the photonic band gap region, the transmission coefficient must be suppressed (see, for example, Ref. \cite{aly12}). Next, imagine that the same photon falls down onto the system
obliquely, as shown in Fig.1 and assume that the transversal to plates component $k_x$ still remains in the photonic band gap. Clearly, for small and moderate scattered angles transversal motion is suppressed due to the appearance of localized or low energy states. Hence, as a direct consequence of the restriction in the transverse direction, photon's propagation parallel to plates will be enhanced.

Note that in most papers on 1d photonic crystal photon main motion is normal to the plates, see, for example, \cite{zhao09} and for recent reviews \cite{review}. In our manuscript we are considering a different geometry (see Fig.1) where photon mainly propagates parallel to the plates. The novelty of our consideration is in different geometry and in corresponding theoretical approach. Our approach allows to obtain closed analytical expression for transmission coefficient.

In this paper we aim to present a complete and quantitative theoretical description of the supercollimation \cite{prather09} and straightening of light \cite{miller06} effects within simplified DPC model, taking into account the above-mentioned restriction in the transverse direction. We will see, that the simplified DPC models, developed in Refs. \cite{GGC16,gagc17}, can help to provide new insights into the properties of the mentioned effects.

The main simplification is related to the ignoring of backscattering in a DPC. Within this approach, we have investigated the transport of light through a one-dimensional metallic photonic crystal with transverse to incident direction inhomogeneity. Independence of transmission coefficient on the incident light wavelength was found\cite{GGC16}. Beside that, we have predicted and experimentally observed \cite{gagc17} a capsize, a drastic change of polarization to the perpendicular direction in DPC. The present work takes one step further in the study of the supercollimation effect. We will remove the limitations on the
normal incident light, discussed in Refs. \cite{GGC16,gagc17} and consider general oblique incidence case. The latter, as we will see below, can lead to an interesting phenomenon of straightening of light into the normal direction on exit of the photonic crystal. In this sense, the DPC can be used in solar cells to increase their efficiency. The point is that at oblique incidence a large amount of light energy is lost due to reflection. Preliminary straightening would reduce this loss. For other applications of 1d photonic crystals see also \cite{zhao2013,peig2015}.

Note, that the main difference of DPC model from other photonic crystal systems where supercollimation effects where observed \cite{Kos99, Kos00, wu03, prather04, pustai04, shi04} is that in the former reflection is negligible due to the fact that the fraction of one component is very small.

\section{Initial Relations}
Consider a system with inhomogeneous dielectric permittivity $\varepsilon(x,y)$ (see Fig.1) and suppose that a plane wave enters the system from the $z < 0$ space at an arbitrary incidence angle $\theta$.
\begin{figure}
 \begin{center}
\includegraphics[width=16.0cm]{obincmod.pdf}
\caption{Geometry of the problem.}
\label{fig.1}
\end{center}
\end{figure}
Following procedures described in previous work Ref.\cite{GGC16} and \cite{FF79}-\cite{Lag89}, scalar Helmholtz equation is reduced to the following  time-dependent Schr{\"o}dinger equation for a particle with mass $k_0$
\begin{equation}
i\frac{d\phi}{dz}=\hat{H}(x,y)\phi,
\label{sreqtime}
\end{equation}
where
\begin{equation}
\hat{H}(x,y)=-\frac{1}{2k_0}\nabla_t^2+\frac{k_0}{2}\left(1-\varepsilon(x,y)\right).
\label{tem}
\end{equation}
Note, that the parabolic approximation, that is $|d^2\phi/dz^2|<<2k_0|d\phi/dz|$ justified, if the characteristic scale $L_z$ of $\phi(x,y,z)$
along $z$ is much longer than a wavelength, that is
$k_0L_z>>1$ (see below). The solution of Eq.(\ref{sreqtime}) can be represented through the eigenfunctions of Hamiltonian Eq.(\ref{tem}). Therefore for the solution of Helmholtz equation one has
\begin{equation}
\Phi(x,y,z)=e^{ik_0z}\sum_nc_ne^{-iE_nz}\phi_n(x,y).
\label{maxsol}
\end{equation}
where
\begin{equation}
\hat{H}\phi_n(x,y)=E_n\phi_n(x,y).
\label{eigfun}
\end{equation}
It follows from Eq.(\ref{maxsol}) that the local transmission amplitude of a central diffracted wave can be defined as in Ref.\cite{GGC16}
\begin{equation}
t(x,y)=\sum_{E_n<k_0}c_ne^{-iE_nL}\phi_n(x,y),
\label{transamp}
\end{equation}
where $L$ is the system size in the $z$ direction.
\newline
The central diffracted wave transmission coefficient that is measured in the experiment can be estimated by the following expression
\begin{equation}
T=\frac{1}{S}\int dx dy\bigg| t(x,y)\bigg|^2,
\label{trcoeff}
\end{equation}
where $S$ is the area of the system. Substituting Eq.(\ref{transamp}) into  Eq.(\ref{trcoeff}), one has
\begin{equation}
T=\frac{1}{S}\sum_{E_n<k_0}|c_n|^2.
\label{trcoeff2}
\end{equation}
In order to find the coefficients $c_n$ let us consider the Eq.(\ref{maxsol}) for $z=0$
\begin{equation}
\Phi(x,y,z=0)=\sum_nc_n\phi_n(x,y).
\label{zero}
\end{equation}
To proceed, we assume that the wave intruding the system  has an amplitude $1$ (the region $z<0$).
From the continuity at $z=0$, one has $\Phi(x,y,z=0)=e^{k_0sin\theta x}$. Here we ignore the reflected waves from the dilute system. Within this approach, multiplying both sides of Eq.(\ref{zero}) by $\phi_n^*(x,y)$ and integrating over the surface, one has
\begin{equation}
c_n=\int dxdy\phi_n^*(x,y)e^{ik_0sin\theta x}.
\label{expcoef}
\end{equation}
Substituting Eq.(\ref{expcoef}) into Eq.(\ref{trcoeff2}), we arrive at the final result for the transmission coefficient
\begin{equation}
T=\frac{1}{S}\sum_{E_n<k_0}\int d\vec\rho d\vec\rho^{\prime}\phi_n^*(\vec\rho)\phi_n(\vec\rho{\prime})e^{ik_0sin\theta(x-x^{\prime})}, \label{fincoef}
\end{equation}
where $\vec\rho\equiv (x,y)$ is a two dimensional vector on the $xy$ plane.
The equation above is the generalization of the previous result, obtained in Ref. \cite{GGC16}, in case of oblique incidence of light at an arbitrary angle $\theta$. In the succeeding subsections we examine the limitations of the found equation for different models.
\section{Transmission coefficient}
Note that when $k_0<E_b$ ($E_b$ is the bottom value of first energy band), the transmission coefficent (Eq.(\ref{fincoef})) is equal to zero. When $k_0$ is inside the allowed band, transmission coefficient can be represented by quasi-momentum $\vec q$ in the following way
\begin{equation}
 T=\frac{1}{S}\sum_n\int_{E_n(\vec q)<k_0}\frac{d\vec q}{2\pi}\int d\vec\rho d\vec\rho^{\prime}\phi^*_{n\vec q}(\vec\rho)\phi_{n\vec q}(\vec\rho^{\prime})e^{ik_0sin\theta(x-x^{\prime})},
\label{invar}
\end{equation}
where $\vec q$ is integrated over the first Brilloin zone. For sake of simplicity and demonstration of the results, we will carry out further consideration in one-dimensional case.
\subsection{Kronig-Penney model}
Assuming that plates are positioned periodically along the $x$ axis (see Fig.1), we can represent the cross section of the potential as a multitude of square potential wells. Metal layers of PC imitate the potential wells with depth $V_{d}=k_0(\varepsilon-1)/2$ and width $b$. The vacuum layer is charachterized by potential energy $V=0$ and $\varepsilon=1$. So the problem described by Eq.(\ref{tem}) is brought to the Kronig-Penney model \cite{Krpen04}.
The transmission coefficient $T$ for one-dimensional configuration can be written as
\begin{equation}
T=\frac{1}{L_x}\sum_n\int_{E_n(q)<k_0}\frac{dq}{2\pi}\int dx dx^{\prime}\phi_{nq}^*(x)\phi_{nq}(x^{\prime})e^{ik_0sin\theta(x-x^{\prime})}.
\label{onedim}
\end{equation}
where $L_x$ is the system size in the $x$ direction.
Here sum is running over the bands with energy $E_n(\vec q)<k_0$. When $k_0$ lies in the energy gap the integration over $\vec q$ covers whole Brilloin zone $-\pi/a, \pi/a$. Using Bloch theorem $\phi_{nq}(x)=e^{iqx}u_{nq}(x)$, where $u_{nq}(x)$ is a periodical function, one obtains
\begin{eqnarray}
T=\frac{1}{L_x}\sum_n\int_{E_n(q)<k_0}\frac{dq}{2\pi}\sum_{lm}\int_{(l-1)a}^{la}dxe^{-i(q-k_0sin\theta)x}u_{nq}^*(x)\times\nonumber\\
\times \int_{(m-1)a}^{ma}dxe^{i(q-k_0sin\theta)x}u_{nq}(x)
\label{parts}
\end{eqnarray}
Changing the variables one finds
\begin{eqnarray}
\label{first}
T=\frac{1}{L_x}\sum_n\int_{E_n(q)<k_0}\frac{dq}{2\pi}\sum_le^{-i(q-k_0sin\theta)al}\times\sum_me^{i(q-k_0sin\theta)am}\times\\ \nonumber
\times \int_0^adxe^{-iqx}u_{nq}^*(x) \int_0^adxe^{iqx}u_{nq}(x),
\end{eqnarray}
where wave functions in different layers of PC can be found from Eq.(\ref{sreq}) (see Appendix).
By substituting $\sum_ne^{-inqa}=2\pi\delta(qa)$ into Eq.(\ref{first}), for transmission coefficient we will have
\begin{equation}
T=\frac{1}{a}\sum_{E_n<k_0}\left|\int_0^au_n(x)e^{ik_0\sin\theta x}dx\right|^2
\label{final}
\end{equation}
where $u_n(x)\equiv u_{nq=k_0sin\theta}(x)$ . The sum in Eq.(\ref{final}) include states from different zones with both negative and positive energies with the same quasimomentum $k_0\sin\theta$. The number of terms in the sum depends on parameters $a,k_0,b$ and $\varepsilon$.

\section{Straightening of light}
Using formula from Supplement we numerically calculate the transmission coefficient of central diffracted wave for the following parameters $a=0.6\mu m, b=0.06\mu m,k_0=12\mu m^{-1}, \varepsilon=4$. The results are shown in  Fig.2 . We compare with the vacuum case $b\equiv 0$. In this case the sum Eq.(\ref{final}) contains only one term with $E_0=k_0\sin^2\theta/2$. Clear straightening effect is seen from Fig.2.
\begin{figure}
\vspace{-2cm}
 \begin{center}
\includegraphics[width=16.0cm]{angldep.pdf}
\vspace{-4cm}
\caption{Transmission coefficient dependence on incident angle.Blue line is the theoretical plot with PC. Red line is the background theoretical plot without PC. In the inset the energy band scheme of transverse motion is shown.}
\label{fig.2}
\end{center}
\end{figure}

Indeed, independent of incident angle, light leaves the system mainly on the $0z$ direction because $T$ is close to unity.
It is clear, as mentioned above, that different energies give contribution to $T$. However, as indicate our numerical calculations, the main contribution to $T$ comes from relatively small positive $E_n>0$ and  relatively large negative $E_n<0$ states.

The state, that close to the bottom of the conduction band, characterized by the small group velocity in transverse direction caused by flat dispersion curve and can lead to supercollimation effect, discussed in Refs. \cite{prather09}. As for the states with negative energies, they
form a very narrow band gap with almost localized states and with limited transport properties in transverse direction, see inset in Fig.2.

From theoretical point of view,
it is clear that under certain conditions  when the incident photon wavenumber is trapped in the gap of energy spectrum of
transversal motion, in DPCs light can propagate without spreading out.

These states also lead to the suppression of mobility in transverse direction and force photons move only parallel to plates. Note, that depending on the incident angle, the first or second type of states contribute differently to straightening effect, see Appendix. However, the resultant $T$, taking into account the contribution of all states (negative and positive) becomes almost incident angle independent and close to unity value.

\section{Conclusion and Discussion}

We have considered the transport of light through a $1d$ dilute photonic crystal model at oblique incidence. Our theoretical
study, based on Maxwell's equations with a spatially dependent inhomogeneous
dielectric permittivity. For certain parameters' values of DPC the emerging light propagates in the normal direction despite the oblique incidence. This straightening effect is
intimately connected with limited transport properties of photons in transverse direction.

When considering the straightening effect we assume continuity of scalar wave field at the interface plane between two media (xy in Fig.1). Coming back to the em wave case this means that our consideration is correct for s-polarized waves, electric field vector of which is directed on 0y in geometry of Fig.1.
 As mentioned above the straightening effect in visible range could be utilized in solar cell elements to make their absorption efficiency higher. It could seem that the polarization dependence of the effect will decrease the application efficiency because the natural light consists of both s- and p-polarizations. However it follows from Fresnel formulae that the p-polarized wave is essentially reflected only for very large incident angles $\theta>70^0$. In contrary a s-polarized wave is reflected even for moderate incident angles. Therefore using DPC to straighten s-polarized light has sense.

As was mentioned above, in the discussed model of dilute photonic crystal, we have ignored the back-scattered waves and reflection.
In order to justify formally this approach, we
estimate below the value of reflection amplitude $r$, using the standard definition
 \begin{equation}\label{eff}
   r=\frac{\sqrt{\varepsilon_e}-1}{\sqrt{\varepsilon_e}+1}
 \end{equation}
where the effective dielectric constant $\varepsilon_e$ defined by $\varepsilon_e=(1-b/a)+\varepsilon b/a$.
Taking  $\varepsilon=4$ and dielectric  fraction $b/a\sim 0.1$, one has $\varepsilon_e\approx 1.3$ and $r\sim 0.06$,
i.e. neglecting back-scattered waves and reflection is a reasonable approximation while calculating $T$. As it follows from the above estimates a one-dimensional DPC on the one hand can straighten the oblique incident light in the visible range. On the other hand DPC provides a negligible reflection and
diffraction less light propagation, forecasting the potential of DPCs in increasing the absorption efficiency in solar cells. Note that a 1d photonic structure like Fig.1 could be made by litography on the surface of solar absorbing element at several wavelengths depth.

redpajama_set_name: RedPajamaArXiv


Shares in housebuilder Bellway soared as it reported a rise in orders for its homes in a "robust" market "unabated by any uncertainty" caused by the election.
The company said the average sales rate was up 13pc between February and June compared to last year. It also said it expected housing completions to increase by 10pc, and upped its profit forecast as a result.
Bellway also snapped up more land than last year in order to meet its ambitious growth targets, acquiring 10,250 plots compared to 8,600 in the same period last year. Shares were up 4.4pc in early trading.


The Denver Broncos traded quarterback Tim Tebow to the New York Jets for a fourth-round draft pick in Wednesday's draft, an ESPN source says.
A first-round pick of the Broncos in 2010, Tebow became expendable when Denver signed free agent Peyton Manning to a five-year, $96 million contract on Monday. The Jets were one of several teams reportedly bidding for Tim Tebow. Others included Tebow's hometown Jacksonville Jaguars.
Denver went 8-5 with Tebow as its starter last season, including an overtime win over the Pittsburgh Steelers in the first round of the AFC playoffs and a loss to eventual conference champion New England the following week.
It was not clear if Tebow would serve as a backup for Mark Sanchez, the Jets' starting quarterback since his rookie season of 2009. The Jets reached the AFC championship game after the 2009 and 2010 seasons, but missed the playoffs in 2011. The Jets also signed former Lions' quarterback Drew Stanton as a reserve last week.


text:
Why depression can be contagious, with lasting effects into adulthood
Girls exposed to negative influences in their teenage peer group experience 'contagious' depression that continues into adulthood, ground-breaking research reveals.
Girls exposed to negative influences in their teenage peer group experience 'contagious' depression that continues into adulthood, ground-breaking research reveals.
Depression is the leading cause of illness among teenagers, with 10 to 20 per cent of adolescents globally experiencing a mental health condition, according to the World Health Organization (WHO).
But for teenage girls, depression can actually be 'contagious' and have lasting effects into adulthood, a world-first study led by Monash Business School has revealed.
The study, Peers, gender and long-term depression by Monash Business School's Professor Yves Zenou with co-authors Dr Corrado Giulietti and Professor Michael Vlassopoulos from the University of Southhampton, is the first in the world to causally link depression among peers in adolescence to depression occurring later in life.
Enduring influence
"We wanted to explore why adolescent girls are so influenced by their peers that the effects last throughout adulthood," says Professor Zenou, who is the Richard Snape Chair in Business and Economics at Monash Business School's Department of Economics.
"What is interesting is that in adulthood, these girls will not have the same group of friends that they had at school. But those school peers have made such an impression that the effects are still felt – if you are depressed at 18 years, you may be less likely to go onto university; or to find and hold a good job," he says.
The study uses United States data from the National Longitudinal Survey of Adolescent to Adult Health and investigates the impact of depression among peers when individuals are between the ages of 12 to 18 years on their own mental health when they are between the ages of 24 to 32 years.
The sample, spanning 14 years from adolescence into early adulthood, comprises of 12,400 individuals (6,663 females and 5,737 males) across 128 schools.
The research showed that a woman who had a large proportion of friends who were depressed as a teen showed a marked likelihood of being depressed in adulthood. And it amplifies the mental health condition.
In their data, researchers found that an increase by just one standard statistical deviation in the proportion of depressed female peers (11.7 percentage points) increases the incidence of depression in adulthood by 2.6 percentage points for females (or 11.5% of baseline depression incidence).
"When you compare a female at age 16 exposed to very depressed peers (top 25 per cent of the distribution) with a female at age 16 exposed to less depressed peers (the bottom 25 per cent of the distribution), the probability of being depressed 15 years later is 8.3 per cent higher for the former than for the latter," says Professor Zenou.
"So if you are already depressed, being exposed to these depressed peers increases your chance of being depressed in adulthood by 8.3 per cent on average.
"If you add these two numbers this can be very big!"
Girls interact differently
Why are teenage girls more susceptible to this peer effect than boys? It's all about the gender differences in how they socialise to form closer friendships.
"Girls interact in a very different manner to how boys interact with their male peers," says Professor Zenou.
"During adolescence, there is this tendency particularly observed among adolescent girls to extensively discuss and revisit problems without coming up with solutions, thereby leading to symptoms of anxiety and depression."
Indeed, on average, girls report having discussed a problem to 69 per cent of their female friends, while for boys this happens on average only with 39 per cent of their male friends.
"We know that boys tend not to speak about their feelings or ruminate with their friends and so don't reinforce these negative feelings," he says.
"However, when it comes to crime or risky behaviour, boys are very influenced by their peer group."
Escaping peer influence
Professor Zenou believes the implications are clear enough for parents to act decisively, and to even consider moving their daughters to other schools.
"We have to avoid women being exposed to negative peers and what we see is that the earlier that teen girls can be moved away from these negative peer groups the better," he says.
"Changing from a school with a high incidence of depression to one with a low incidence of depression has a big impact on a girl's long-term depression and capacity to go to university and work."
An increase in peer depression by one standard deviation is also associated with a probability of university attendance that is 3.5 percentage points lower, a likelihood of working that is 2.8 percentage points lower, and a reduction in income of $1,870, the research says.
How mothers help
But there is a mitigating factor. While coming from a lower socioeconomic background means a teen will be more susceptible to the mental health of their peers, teen girls with a strong mother-daughter relationship are less likely to suffer from depression in adulthood.
"Teenage girls are more vulnerable to same-gender depressed peers than boys and this influence tends persists over time, even when they are not interacting with each other," Professor Zenou says.
"It's important for parents to understand just how this can lead them to a life of mental health issues.
"Parents, especially mothers, need to spend time with their daughters talking about mental health issues and, if necessary, change up the peer group by changing schools or residential location."


Ross Greenwood speaks to Stephen Weatherall the CEO of the Lucapa Diamond Company about the discovery of a 104-carat diamond from its mine in Angola.
The diamond is about the size of a 50 cent piece.
Weatherall is the man who took the phone call with the great news.


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text:
STEREOTYPE BY DAGUERREOTYPE
By Robert Grossman and Our Readers
We received much mail from readers offended by Robert Grossman's "Babe Lincoln" (Jan. 24). His cartoon was intended as a comment on the controversy stirred by C.A. Tripp's new book, The Intimate World of Abraham Lincoln, in which Tripp argues that Lincoln was homosexual. We leave historians to debate Tripp's thesis, as we leave readers and Grossman to discuss the cartoon below. We deeply regret having offended anyone.
Karl Rove himself couldn't have done a better job of conflating liberalism and adolescent vulgarity. Anyone trying The Nation as a result of having seen Katrina vanden Heuvel on mainstream TV might regret having done so when they see Robert Grossman's cartoon "Babe Lincoln."
THEODORE G. GOETZ
I was surprised to discover that the Nation editors don't seem to understand the difference between gender and sexuality. Robert Grossman's "Babe Lincoln" depicts the President decked out in nineteenth-century women's lingerie. The caption jokes that a "newly discovered daguerreotype lends support to theory in a recent book that the sixteenth president was gay." Kind of funny, maybe, but such a daguerreotype would in fact suggest that "Babe Lincoln" (pretty old hat, that) was a cross-dresser rather than a gay man.
IRA ELLIOTT
Bethesda, Md.
I'm having a problem understanding the "Babe Lincoln" cartoon. The drawing shows a recognizable Lincoln head atop a voluptuous Victorian postcard-porn female body. The text states that the "newly discovered" image lends credence to the suggestion that Lincoln was gay.
Was Lincoln transgendered–a male "trapped" in a female body? Or was he a transvestite, a man who likes to dress up in female clothing (but those cartoon breasts look pretty real, no padding there)? Could he actually have been a hermaphrodite with characteristics of both sexes (although I can't be sure what those pantaloons are really hiding)? Of course, none of these things necessarily equates with homosexuality.
I've been racking my brain trying to figure out how the cartoonist could have visually indicated "gayness" in some other less confusing way. Undoubtedly, however, it too would have been inaccurate and stereotypical. So, can you help me figure this out? Who's confused here–me, Lincoln or the cartoonist?
L.E. MARTINEZ
Dublin, Pa.
There may be risible aspects to the recent theory that Abe Lincoln had a homosexual past, but your cartoon is not funny. It's disturbing to find The Nation happily perpetuating the old stereotype of male homosexuality as being all about drag. None of that was in C.A. Tripp's book, so far as I know.
What exactly is your point? Do cigar-chomping Nation editors really get a kick out of jokes about faggots who act like women? The cartoon isn't just stupid, it's insulting.
STEPHEN C. BANDY
As someone who's written dozens of articles for The Nation, including a number on gay issues, I must ask: Didn't you consider that running Robert Grossman's offensive cartoon–bad enough in itself–was made worse by the political context in which we live? We've just come through an election the Republicans won, in part, by bashing gay people over the head with odious stereotypes and discriminatory referendums. That makes running this cartoon, which pretends that a man who loves a man really wants to be a woman–the oldest canard in the world–even more insulting.
DOUG IRELAND
I'm sure I'm not the only person who finds your Abe Lincoln cartoon deeply and painfully insulting. What you mistake for humor is nothing more than virulent and blatant homophobic garbage, utterly unworthy of the 140-year-old magazine entrusted to your care. It's this kind of ignorant stereotyping that fuels and perpetuates hatred, disgust and violence against homosexuals. I'm embarrassed for you.
JOHN BERENDT
Besides not being funny–a serious sin, as Oscar Wilde might have pointed out–the "Babe Lincoln" cartoon is fairly offensive in its knee-jerk association between "gay" and "woman in man's body" or whatever yuck-yuck image Robert Grossman intends. While I have no desire to defend Tripp's apparently fairly careless and tendentious "historical" argument, this sort of joke adds nothing of import to the issue raised by those claims. And the "Log Cabin Republicans take note" makes no sense at all, beyond the obvious fact that they (poor deluded souls) are gay Republicans.
This is, unfortunately, not an atypical lapse in taste.
LARRY GROSS, director
As a friend and admirer of Bob Grossman and a collector of his work, I felt deeply offended by the the letters on your website from some of your readers about Bob's "Babe Lincoln" cartoon. Their implication that an artist–especially in his case a political, social and cultural critic–should be constrained by rules of taste, political correctness and propriety is offensive to common sense and damaging to freedom.
And what's even worse, it seems that those advocates of censorship see themselves as "liberals." It's worrisome that a mild, sweetly funny and even affectionate take on Lincoln's alleged gayness should cause such a rabid response.
JORGE PONTUAL
GROSSMAN REPLIES
When I read a review in the New York Times of C.A. Tripp's The Intimate World of Abraham Lincoln, the words "Babe Lincoln" suddenly ran through my mind, rendering me helpless. In the impoverished mental landscape of a cartoonist this is what passes for true inspiration. I knew that gay men were not necessarily effeminate, cross-dressers or bearded ladies but I couldn't let that prevent me from having my laugh. Better a cheap and infantile joke than no joke at all, or so I thought. Now I hereby apologize to anyone I have offended. I also want to thank the editors of The Nation for their playfulness and/or insensitivity in allowing my perky pin-up to get into print.
Somebody asked me about the ax in the picture. It was a contemporary symbol of Lincoln. Although now I've read that he may not ever have split any rails. Somehow I thought it would make my picture a little more edgy.
ROBERT GROSSMAN
A DIFFERENT IRAQ PERSPECTIVE
Naomi Klein wrote in her "Lookout" column "You Break It, You Pay for It" [Jan. 10/17]: "As for preventing 'anarchy,' the US plan to bring elections to Iraq seems designed to spark a civil war–the civil war needed to justify an ongoing presence for US troops no matter who wins the elections."
I am an American, recently returned from the Middle East, where I met several of my Egyptian physician friends who have been working in Baghdad for a year and a half. There is a feeling and a belief in Iraq and the Middle East in general–which Klein and others are missing–that, yes indeed, the entire debacle in Iraq is designed to lead to a breakdown of the country and its eventual division into three separate countries, Sunni, Shiite and Kurdish. The purpose is to enable the United States to more easily control the resources (water, oil and land) by pitting one faction against another (divide and conquer, yet again) thereby insuring that Iraq will never regain the power it had under Saddam Hussein (when despite his despotism Iraq was highly industrialized, had the highest literacy rates and the most emancipated women in the region and was a secular state) or the power it had as the only member of OPEC that sold its petrol not in dollars but in euros.
More important, this is the belief of many Iraqis and others (Egyptians, Jordanians, Syrians, etc.) now living and working in Iraq. Whether this is truly the US "plan" or not, many in Iraq believe it to be true. Some say this division of the country will occur quite quickly, within two years, and they have little power to stop it from happening. They are sure of it. This is an Arab perspective that has not been brought forward in the Western press.
NILE EL WARDANI
MORE MEMORIES OF JACK
Re "Jack Newfield" [Jan. 10/17]: One of Jack's great contributions is the groundbreaking work he did to tell the real story about George Bush's judicial nominees. His stories broke the mold, combining his extensive experience and knowledge of politics and history with his passion for justice. Miss Manners would have been appalled at his style. Junior staff at Alliance for Justice answered his phone calls with fear and trepidation. He was crotchety, impatient and demanding. They learned, however, that over time it was every bit worth the sweat and tears. Jack defied conventional standards of reporting. By writing what others would never say, going the extra mile to interview critical sources, reading lengthy hearing transcripts, confronting combative senators, he compiled the facts. Some senators even took to quoting verbatim from his stories during Judiciary Committee hearings.
I ran into Jack on the street in New York City a week before the election. I thanked him for his wonderful work, and he promised to keep writing, to keep fighting the good fight, particularly if Bush won. Jack's passing is a huge loss for our community and for investigative journalism at large.
NAN ARON, president
Alliance for Justice
ACTIVE, NOT ACTIVISTS
New York Cdity
In "Rapping on Empty" [Jan. 10/17], Jody Rosen calls the Guerrilla News Network an "activist group." We are not an activist group. We are an independent news website and a TV production company (www.guerrillanews.com).
ANTHONY LAPPE
Editor, GNN.tv
Robert GrossmanRobert Grossman is a New York native and an accomplished artist in many media. He studied fine art at Yale and has won accolades for his comics, illustrations, paintings and cartoon-like clay sculptures. He was also nominated for an Academy Award for an animated short in 1978. A longtime Nation contributor, his work has appeared on the covers of more than 500 national magazines.
Our Readersoften submit letters to the editor that are worth publishing, in print and/or online.


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Gamma and X–ray HPGe Spectrometer is intended for the conversion of Gamma and X-ray quantum energy to proportional level. This is accomplished using amplitude electric signals and their amplification for further registration with a nuclear physics apparatus. It is also intended for use as the gamma and X-ray detection component of radiological monitoring for environmental objects in nuclear energetics, industrial production, agriculture, medicine, etc.


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aer lingus help desk contact numberThe UK glass industry is pursuing an active programme on energy efficiency and decarbonisation. But building the business case to secure funds remains a barrier. Capital costs can be very high and paybacks periods are often in excess of two years; traditional loans are usually unattractive for this work. The whiskey was inspired by masters and apprentices working together at the new Midleton micro-distillery, one of the oldest and most iconic distilleries in the world. The brand combines tradition and innovation to convey a sense of fun and excitement. It uses two opposing patterns throughout the packaging. The straight lines symbolise method and order and the stunning marbled patterns reference madness and liquid experimentation. Commenting on the recent renovations, Ms Stephens said: "I am absolutely delighted with the work that has been carried out and Dortech's customer service and professional installation has been second to none. This innovative, hexagonal shaped bottle has been designed for experimental super premium whiskey. These extra white flint glass bottles have been manufactured by Allied Glass. The black-tie awards ceremony was held on 15 June at the Royal Armouries in Leeds, at the centre of the country's great east-west glass manufacturing corridor – where nine out of ten of the UK's largest glass manufacturers have production sites. When the UK government launched its Decarbonisation and energy efficiency roadmap 2050 project – working with the UK's eight most energy intensive manufacturing industries, including glass – British Glass saw an opportunity to develop a new type of relationship with policy makers. "We are a trade specialist so all retail enquiries and enquiries from smaller independent installers are handled by our customers, which means they are sharing directly in the success of our campaign." Torquay's Fenster Fabrications is set to feature in an upcoming episode of ITV 1's hit home improvement show Love Your Home and Garden.
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As we revel in the golden colors of autumn here in the Northern climes, we are acutely aware of what's to follow. That, of course, is winter – a time of short hours of daylight, cloud, and cold. However, for many of us, there will be times when it snows and snow is a wonderful plaything for us photographers.
Snow utterly changes the landscape, making the familiar seem eerily new. Perhaps the biggest change we see after a good snowfall is in towns and cities. The familiar green-grey of a city's infrastructure is transformed into a sea of pristine white. Today we are going to look at some ideas and practicalities for shooting snowbound cities.
Going early has two meanings. Firstly, early as in as soon as the snow has fallen, perhaps even while it is falling. Once cities come to life after a snowfall, people and cars grind the beautiful white stuff into a grey slushy mush. Keep an eye on the weather forecast and make sure you're prepared to get out as soon as the snow falls.
The other early is of course early in the morning. The low sun of winter adds a particular beauty to the golden hour. Long soft shadows on pure white snow, soft golden light on buildings and other elements that go to make up city life. With the cold mornings, you may well get mist, fog and even steam venting into the streets all adding an immense beauty to even the dullest of cities.
Don't just think big and wide when shooting snow. Cities after snowfall are full of amazing little details. Snow piled up on car wing mirrors, the last leaves of autumn on fresh snow, icicles on a park bench. Take a macro lens if you have one, if not try to get in close to all the tiny details that snowfall affords.
As well as the details, street and people photographers will have a field day. Whether it is people struggling to walk to work on icy pavements or bright colored winter clothes contracting the white snow and grey city. Even posed portraits can look great in a snowbound city.
Snowbound cityscapes take on a special beauty in the blue hour and into the night. The vast expanses of white reflect the city's bright lights back against the buildings, filling in nooks and crannies where normally dark shadows would reside. Often the coldness will create a slight mistiness to the air. In turn, this makes the bright lights of the city take on a halo effect adding further mystery to the shots. The colors of city lights are also enhanced by the mist.
There is a special kind of beauty in capturing the snow as it falls. It can be quite tricky and you will need to be confident that you have a weather sealed camera and lens. If you are not sure, or your camera is not weather sealed, try shooting from under cover.
As with motion in any shot, you can choose how to capture the falling snow. Slow shutter speeds will create a blurred effect to the snowflakes while raising the shutter speed will freeze their motion. Focusing is key too. Because snowflakes are so small you need your focus point to be relatively close to the camera. If you need the background in focus, aim for a smaller aperture to increase the depth of field.
Another great way to capture snow in the city is from a high perspective. This might be atop a tall building or by using a drone. Be careful to stay within the safety limits of your drone both for temperature and where you fly. Looking down on snowbound rooftops, you will see splashes of color, perhaps watery sunshine and steam coming from heating vents. Trees with leaves remaining add further definition to the scene below.
Your first concern when shooting a winter cityscape should be for yourself. Wrap up warm with multiple layers and thick-soled, insulated boots. Use a pair of gloves, perhaps with fingertips cut off, to enable you to work with your camera. You will be standing around a lot trying to get the shots and it is easy to not realize how cold you have become.
Your camera will go through batteries at a much higher rate so make sure you have spares and that they are fully charged. Keep them in your pockets close to your skin before use. This will allow them to retain some heat and hopefully last longer. Make sure you do not have anything else metallic in the same pocket as a battery.
When it comes to shooting, most cameras will tend to underexpose snow scenes. Try opening up the aperture or try dropping the shutter speed by one stop to compensate. If in doubt, bracket your images with a bias towards the overexposed side. Colour is another area where cameras might get it wrong in the snow. This is particularly true in the blue hour and at night. The simple solution is to shoot RAW, this will allow you to control the white balance in post-production.
Winter need not be a time to pack away our cameras and return to a warm fire and a pair of slippers. Snow can transform even the most mundane looking town or city into a special kind of beauty. Keep an eye on the weather forecast and if you see snow coming, get those batteries on charge.


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MONSTER MUSUME EVERYDAY LIFE WITH MONSTER GIRLS – Anime Review
December 6, 2018 Tom And Linny 3 comments
Synopsis: When Kimihito finds himself sucked into a government exchange program he soon develops a monster problem- a monster girl! But things are about to go from bad to worse when monster women of all species begin to invade for Kimihito's home. (Official HIDIVE Synopsis)
Though some may hotly argue this is heaven, the man is clearly in hell.
Review (Warning: Minor Spoilers to Follow):
Tom: Monster Musume provides a fun take on harem anime thanks to its host of different, exotic, monster girls spanning all the popular monster types you'd find throughout any classic JRPG. But the best parts of Musume stem from the world building done to sell the Monster Girls as a natural part of this fantasy world. It's interesting hearing about all the little details that accompany accommodating this sudden appearance of monster girls around the world and the struggle of integrating them into society.
Linny: While the monster girls make for a unique and entertaining cast, personality wise they come as cliche as can be. Monster Musume is an unabashed ecchi, with all the tropes that come with it and nothing can hide the fact that titillation is its one, true goal. It finds every excuse and reason to have the girls behave in a scandalous or seductive manner, which should be great for those who picked the show up hoping for exactly that. There's nothing remotely deep or complex about its characters or its plot (No, the actual plot.) and thus perfect for those who want to turn one half of their brain off while 'turning on' the other.
Too late! This is already beyond weird.
Tom: Monster Musume isn't ashamed to be up front about exactly what kind of series it really is. It's safe to say if the first five minutes don't do it for you, it's better to steer clear entirely, because those first five minutes are everything you need to know about Monster Musume's frequent flirtation with fan service and sexual humor. For Ecchi fiends, know that Musume provides fairly high quality animation and art, prepared to deliver to you the best ecchi experience it can give on Japanese TV (censored on Crunchyroll and uncensored on HIDIVE). That said though, there's isn't too much else to praise. While the show does play with Kimihito and the Monster Girls' obsession with him a bit better than most harem, Kimihito himself still hits near every cliche. Monster Musume barely gets away with the girl's attraction to him in the first place. Kimihito's personality doesn't extend much farther beyond the text book definition of "nice" and while in most harem it'd feel incredibly forced for the girls to fawn over him, it almost makes sense in Monster Musume, as the monster girls are use to being feared or loathed throughout the human world. So you can almost understand why they'd be fawning for the one man who appreciates them as they are. "almost."
Linny: It is what it is; a harem show. Don't expect too much and don't overthink it. Musume has a lot of flaws and can rightfully/easily be picked apart for each and every one. But it's honest about itself so you should be able to tell if it is for you or not within the first few minutes. It's definitely not for the faint of heart and it's definitely not for those who despise generic cliches. But it does put its heart into pleasing the ecchi crowds. Furthermore, it also puts effort into its animation and in world building, with little eye catches at the end of each episode filled with information about all kinds of monster girls, even some that never manage an appearance. I really enjoyed reading the show's takes on popular folklore creatures and maybe it will act as a little bonus surprise for other viewers too.
Be careful about wishing for girls fighting over you.
Tom: Ultimately Monster Musume stumbles in its final episode, its 'Final Arc' stretching on for too long. The final few episodes focus on a mysterious individual threatening Kimihito through the mail. The reveal/conclusion to this three-episode plot is predictable and disappointing, in part due to the lengthy build up. Thankfully there's plenty of "plot" to make up for it. Ultimately I enjoyed my time with Monster Musume, mostly for its unashamed devotion to providing some of the strongest ecchi content in the past few years. I'll be recommending it for Ecchi lovers, but a strong pass for everyone else.
Linny: Is it going to surprise anyone when I say this show is definitely not on my favourites list? The generic content, combined with the sheer dedication to shoving in as much fan service as possible, ensures that this is a show for a very specific crowd. It does have some genuinely funny moments but Monster Musume is an ecchi through and through, best enjoyed by those who fully embrace that and expect nothing beyond it.
Recommended: Monster Musume is great for ecchi lovers, with strong perverted comedy and ample fan service sure to please the most ardent of perverts, yet turn away near everyone else.
Take it or Leave it: Monster Musume contains decent animation and comedy that caters solely, and exclusively, to the ecchi seekers.
Monster Musume Everyday Life With Monster Girls is available for streaming via Crunchyroll, Hulu, Viewster, HIDIVE and Yahoo.
tagged with Crunchyroll, HIDIVE, Hulu, Monster Musume, Recommended, viewster, Yahoo
« Ajin 61-63 – Manga Review
Hero Mask – Anime Review »
Dj Quinn
December 6, 2018	12:14 pm
Monster Musume was what got me into monster girls originally and it's something I'm very fond of. That said, I think the anime is worse than the manga. While the manga is certainly ecchi, the addition of things like music and playing out in real time makes it harder to find some scenes more funny than erotic (this is similar to the problem I have with Mineta in My Hero Academia, where he feels much more creepy animated than in manga format).
The manga also gets better the further in you go, where it explores the girls as characters more as well as aspects of their culture and Kimihito becomes more developed as a character and parent-like to the girls (one of my favorite gags is when Lilith, the Lesser Devil girl, tries to hypnotize Kimihito to show his true self to prove her belief all human men are perverts, but then he starts scolding her for being lewd and she thinks it didn't work…only to realize it DID and all the antics with the girls have caused him to be used to being like this XD).
There's also some fun reveals, like the fact that Lala DOES actually have powers and what drew her to Kimihito was that the other girls actually do kill him, but he pulls his soul out of the Sanzu River out of sheer force of will each time and that revives and heals him (though he can only remember his times being there and talking to Lala there while there and forgets when he revives) or how the Chief of Police from the MON introduction is actually Papi's father. Humor's just great throughout, imo.
Thomas J. Daniell
Thanks for that write up! I've meant to give the manga a try, and it sounds like it is the stronger version of the story based on the differences you note. I'll definitely have to try and dive into it next year.
Hope you have fun! Speaking of, this reminds me that the OVA's in particular really amped up the ecchi. The Gym chapter (the one skipped by the anime to end on Lala), is one of the lightest in the series, but the OVA of it is pervier than most of the anime.


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Experience an adventure into circus in Dunstable
The show features music, dance and circus
Peter Ormerod
Published: 16:02 Monday 05 February 2018
A mystical world of frozen beauty and magical adventure is promised in Dunstable this month when Cirque Enchantment takes to the stage.
Audiences are invited to join Scarlett, a young girl with a big imagination and even bigger voice. As she reads her enchanted storybook, the circus in her mind comes to life live on stage. What follows is an adventure through good and evil lead by the captivating vocals of Miss Enchantra.
With an eclectic musical soundtrack that offers something for everyone, including current hits from One Direction, Sia, Paloma Faith, Rihanna and Beyonce in addition to a mix of classical, rock, dance and classic favourites, Cirque Enchantment promises a striking production that will delight adults and children in equal measure.
Creative director and writer Stuart Glover said: "If you are a fan of pop music, dance and circus then this is the show for you. We want to fill those cold winter afternoons and evenings with some breath-taking magic."
Producer Matt Ryan Day said: "It's been a real adventure bringing traditional circus and aerial elements together with great choreography and music – there really is something for everyone in this show."
Cirque Enchantment comes to the Grove Theatre on Sunday, February 25. Tickets cost £22. Call 01582 60 20 80 to book.
Zookeepers conduct annual stocktake at ZSL Whipsnade Zoo
Central Beds Council set to proceed with controversial M1-A6 link road despite objections from Luton
£240k package of road safety improvements on A5 through Hockliffe


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Norwegian Boeing 787 Dreamliners at Gatwick Airport
This is a radical about-turn, given that the airline was still expanding last year, despite the increasing pressure on the balance sheet. Last year Norwegian began operating a London-Buenos Aries route and connecting flights within Argentina. At the time of writing, the lowest two-week return from London-Buenos Aries, leaving from March 1, is £482.50, compared with £1170 on British Airways, the main difference in price being the outward-bound flight.
However, Norwegian lacks the lucrative business and first-class passengers that make up the profits on other transatlantic carriers, although reviews of its 787 premium economy service, with 46-inch leg-room, compare favorably with other airlines'.
It is hard to see how Norwegian can make money at these prices, even allowing for the fuel-efficiency of the Boeing 787s it uses to Buenos Aries and on many of its transatlantic flights.
Meanwhile, in Europe, competitive pressures are intense for low-cost airlines: Ryanair recently issued a profit warning while Hungarian airline Wizz Air's profits have dropped by nearly 90%.
For existing investors, the hope is that another airline, perhaps Lufthansa, will launch a takeover bid. In the absence of a takeover, the rights issue and scaling back are the only sensible option. Whether it will be enough is not yet clear.
Ryanair's Michael O'Leary has made no secret of his view that Norwegian will go bust in the near future, as my colleague Michael Goldstein reports, and he's not alone in thinking that. The worrying question is why Norwegian took so long to address its cash-flow problems.
The text of this article was published on Forbes.com
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