Malware is any software intentionally designed to cause damage to a computer, client, or computer network. A wide variety of types of malware exist, including computer viruses, Trojan horses, spyware and scareware. Programs are considered malware if they secretly act against the interests of the computer user. For example, at one point Sony music Compact discs silently installed a rootkit on purchasers' computers with the intention of preventing illicit copying, but which reported on users' listening habits, unintentionally created extra security vulnerabilities. A range of antivirus software and other strategies are used to help protect against the introduction of malware, to help detect it if it is present, to recover from malware-associated malicious activity and attacks. Many early infectious programs, including the first Internet Worm, were written as experiments or pranks. Today, malware is used by both black hat hackers and governments, to steal personal, financial, or business information.
Malware is sometimes used broadly against government or corporate websites to gather guarded information, or to disrupt their operation in general. However, malware can be used against individuals to gain information such as personal identification numbers or details, bank or credit card numbers, passwords. Since the rise of widespread broadband Internet access, malicious software has more been designed for profit. Since 2003, the majority of widespread viruses and worms have been designed to take control of users' computers for illicit purposes. Infected "zombie computers" can be used to send email spam, to host contraband data such as child pornography, or to engage in distributed denial-of-service attacks as a form of extortion. Programs designed to monitor users' web browsing, display unsolicited advertisements, or redirect affiliate marketing revenues are called spyware. Spyware programs do not spread like viruses, they can be hidden and packaged together with unrelated user-installed software.
The Sony BMG rootkit was intended to prevent illicit copying. Ransomware affects an infected computer system in some way, demands payment to bring it back to its normal state. There are two variations of being crypto ransomware and locker ransomware. With the locker ransomware just locking down a computer system without encrypting its contents. Whereas the traditional ransomware is one that locks down your system and encrypts the contents of the system. For example, programs such as CryptoLocker encrypt files securely, only decrypt them on payment of a substantial sum of money; some malware is used to generate money by click fraud, making it appear that the computer user has clicked an advertising link on a site, generating a payment from the advertiser. It was estimated in 2012 that about 60 to 70% of all active malware used some kind of click fraud, 22% of all ad-clicks were fraudulent. In addition to criminal money-making, malware can be used for sabotage for political motives. Stuxnet, for example, was designed to disrupt specific industrial equipment.
There have been politically motivated attacks which spread over and shut down large computer networks, including massive deletion of files and corruption of master boot records, described as "computer killing." Such attacks were made on Sony Pictures Saudi Aramco. The best-known types of malware and worms, are known for the manner in which they spread, rather than any specific types of behavior. A computer virus is software that embeds itself in some other executable software on the target system without the user's knowledge and consent and when it is run, the virus is spread to other executables. On the other hand, a worm is a stand-alone malware software that transmits itself over a network to infect other computers; these definitions lead to the observation that a virus requires the user to run an infected software or operating system for the virus to spread, whereas a worm spreads itself. These categories are not mutually exclusive, so malware; this section only applies to malware designed to operate undetected, not ransomware.
A computer virus is software hidden within another innocuous program that can produce copies of itself and insert them into other programs or files, that performs a harmful action. An example of this is a PE infection, a technique used to spread malware, that inserts extra data or executable code into PE files.'Lock-screens', or screen lockers is a type of “cyber police” ransomware that blocks screens on Windows or Android devices with a false accusation in harvesting illegal content, trying to scare the victims into paying up a fee. Jisut and SLocker impact Android devices more than other lock-screens, with Jisut making up nearly 60 percent of all Android ransomware detections. A Trojan horse is a harmful program that misrepresents itself to masquerade as a regular, benign program or utility in order to persuade a victim to install it. A Trojan horse carries a hidden destructive function, activated when the application is started; the term is derived from the Ancient Greek story of the Trojan horse used to invade the city of Troy by stealth.
Trojan horses are spread by some form of socia
Evelyn Maude "Eva" West was an Australian accountant and local government administrator. West is most notable for being one of the first female accountants to be admitted to the Incorporated Institute of Corporate Accountants. West passed the final exam to qualify for admission in December 1916. Passing the examination for municipal clerks in 1914 to become qualified, West embarked on a career in local government, she was appointed assistant shire secretary for the Shire of Jeetho-Poowong in Korumburra before moving to Melbourne to work with the Country Roads Board where she worked by day and studied at night for her accounting exams. Returning to Traralgon in 1921, West opened her own accounting practice before commencing work at Traralgon Shire Council in 1922, rising to become shire secretary in 1934. West was later appointed as secretary of Traralgon Waterworks Trust and Traralgon Sewerage Authority. West's community work was extensive, holding honorary positions with more than twenty local community groups.
She was considered a driving force behind the Traralgon Salvage Committee which raised funds during World War II. West had a special interest in the advancement of young girls, beginning a local branch of the Girl Guides, serving on the council of St Anne's Girls Grammar School in Sale. West was appointed as an MBE in the 1958 New Year Honours, she was buried in the Traralgon Cemetery. Latrobe City Council offers a $3000 scholarship for Year 12 girls who wish to study business and accounting at university. In 2018, West was posthumously added to the Victorian Honour Roll of Women. West's father was long-serving Traralgon Shire secretary and Victoria state MP Walter West, who served as the Member for Gippsland South from 1922 until 1929
A Bioscope show was a music hall and fairground attraction consisting of a travelling cinema. The heyday of the Bioscope was from the late 1890s until World War I. Bioscope shows were fronted by the largest fairground organs, these formed the entire public face of the show. A stage was in front of the organ, dancing girls would entertain the crowds between film shows. Films shown in the Bioscope were primitive, the earliest of these were made by the showmen themselves. Films were commercially produced. Bioscope shows were integrated, in Britain at least, into the Variety shows in the huge Music Halls which were built at the end of the nineteenth century. After the Music Hall Strike of 1907 in London, bioscope operators set up a trade union to represent them. There were about seventy operators in London at this point. In South Africa "Bioscope" or in Afrikaans "bioskoop" is an archaic word for the cinema and some people still use it regularly. In modern day Dutch, "bioscoop" is a wide-spread term, the equivalent of the English "movie theater" or "cinema".
In Serbian language, "bioskop" is a modern term for movie theater
What Mattered Most is the debut album of American country music artist Ty Herndon, issued in 1995 on Epic Records. The album's title track, Herndon's debut single, reached No. 1 on the Billboard Hot Country Singles & Tracks charts in mid-1995. Other singles from the album were, in order, "I Want My Goodbye Back," "Heart Half Empty" and "In Your Face." Doug Johnson produced the entire album, with additional production from Ed Seay on "Heart Half Empty". What Mattered Most was released on April 1995, via Epic Records Nashville; the album is led off by its title track, the first single from it. Written by Gary Burr and Vince Melamed, this song became Herndon's first No. 1 country hit in May 1995, peaking on both the U. S. Billboard Country Singles Canadian RPM Country Singles charts. Following it were "I Want My Goodbye Back," "Heart Half Empty", "In Your Face." These reached 7, 21, 63 on the U. S. Country charts. "Heart Half Empty," a duet with Stephanie Bentley, was her first chart single. It was reprised on her 1996 debut album Hopechest on Epic Records.
"You Just Get One" was released as a single by Jeff Wood from his 1997 debut album Between the Earth and the Stars. Additionally, "Summer Was a Bummer" was recorded by Wade Hayes on his 1998 album When the Wrong One Loves You Right, "You Don't Mess Around with Jim" is a cover of the Jim Croce song from 1972. What Mattered Most debuted at number 15 on Top Country Albums and #1 on Top Heatseekers, the highest album debut for a country artist since Billy Ray Cyrus' Some Gave All in 1992, it peaked at number 9 on the former chart. In addition, the album had the highest first-day shipment in the history of Epic Records' Nashville division. Giving it 3.5 stars out of 5, Michael McCall of New Country wrote that "For the most part, Herndon comes on like a confident newcomer worthy of attention." He praised the title track, "Pretty Good Thing", "Hat Full of Rain", "I Want My Goodbye Back" for Herndon's vocal delivery, but criticized the same on the "You Don't Mess Around with Jim" cover. He panned "Heart Half Empty", "You Just Get One", "In Your Face" for their "unduly shallow" lyrics.
An uncredited review in Billboard was favorable, sying that "With a rich, expressive voice, suited to pensive ballads and rollicking, uptempo tunes, Herndon is one of country's most impressive newcomers." "What Mattered Most" - 3:40 "Pretty Good Thing" - 2:51 "Summer Was a Bummer" - 3:30 "You Don't Mess Around with Jim" - 3:16 "Heart Half Empty" - 4:55 duet with Stephanie Bentley "I Want My Goodbye Back" - 3:24 "You Just Get One" - 3:35 "In Your Face" - 2:16 "Love at 90 Miles an Hour" - 3:30 "Hat Full of Rain" - 4:11 Jim Burnett - digital editing, assistant engineer Don Cobb - editing Paige Conners - production assistant Emory Gordy, Jr. - string arrangement Bill Johnson - art direction Doug Johnson - production Anthony Martin - assistant engineer Frank Ockenfels - photography Denny Purcell - mastering Ed Seay - production, mixing Rollow Welch - art direction What Mattered Most at Allmusic What Mattered Most. Ty Herndon. Epic Records. 1995. 66397. CS1 maint: others
New Inside is the third studio album by Tiffany, released on October 2, 1990. Tiffany had broken with manager/producer George Tobin soon after her 18th birthday, signed with manager Dick Scott and producer Maurice Starr. Starr was the producer responsible for putting together the group New Kids on the Block, who had risen to teen popularity by opening for Tiffany in 1988, who had since eclipsed Tiffany in degree of pop success; this album came out on Tiffany's 19th birthday, she hoped it would revive her faltering career. New Inside was not a commercial success in the United States, neither the album nor any single released from it made it onto the pop charts, though the title track "New Inside" got a little bit of airplay in some areas and reached some local radio stations' request-based countdowns thanks to the efforts of fans, who were starting to get organized on bulletin board systems and online services. In Japan, the album was a Top 20 success, where it peaked at #17, staying in the Top 100 for a total of 6 weeks.
An attempt was made to take advantage of current events by rededicating the song "Here in My Heart", written by superstar songwriter Diane Warren, to the troops serving in the Gulf War. The song had been dedicated to AIDS victim Ryan White. Tiffany broke with Scott and Starr, returned to George Tobin for her following album. "Dennis Cheese", credited with the rap in the title track, is Donnie Wahlberg of the New Kids. The release of the album showed Tiffany with a new look, a new dance-oriented/R&B sound with an urban influence, as well as the singer's new management. During the past year, Tiffany developed her new image, got reacquainted with her family after two years of constant recording and performing, sang on the soundtrack of the Jetsons film. In a December 6, 1990, Chicago Tribune article/interview with Tiffany, by Los Angeles Daily News author Bruce Britt, Tiffany spoke of the album and the new direction, stating: It's a different sound; the change came about with new management. I wanted to show.
I've always listened to R&B music, so I was delighted to do it on the new album. I had more input on this album than any other; the first album I'd had some input, but I was 14 years old and I didn't know what I was talking about. But I've experienced more things, the more experiences you have, the more you can contribute. In regards to her split from manager/producer George Tobin, she stated: We weren't in sync anymore. I wanted to do R&B music, he wanted a certain other sound; when I first signed with George, I was thankful to be fulfilling my dream. I appreciate. I needed a manager who understood the R&B and pop markets, who understood my wanting to become more involved in the making of the music. So, I never told anyone. I just observed everyone I could. New Kids on the Block manager Dick Scott stood out as the best. Following the commercial failure of the album, no songs from New Inside were used in Tiffany's 1993 live performances, some media reports at the time referred to her fourth studio album Dreams Never Die as her third album, discounting New Inside.
In a 2012 article based on Tiffany by Audio Video Revolution, the singer spoke of the idea behind the New Inside album. She stated: I think that you grow as an artist, for me, I'm so inspired by a lot of different artists. I think being a young artist, there were a lot of things I wanted to do, and it took me in a different direction with "I Think We're Alone Now," and all of a sudden I was a pop star. But I loved it. My dreams had come true, but there was that side of, "You're a young teen," and there were so many people telling me, "You can't do that now. You can't dress like this. You can't date boys." It was like all of a sudden the world was watching, but it was the corporate world, the business side of it, it was frustrating, because my fans were changing. The girls were dressing more sexy. Now I'm in a semi-pop dance world, I'm singing a lot of ballads, which are beautiful, well-written songs, but that's not why people buy tickets to come and see me, that's not how I came out of the box with people.
So that's kind of. I wanted to write. I had changed management at that time. It's time to be a little more edgy. It's time to be a little bit more tuned-in. If we're going to do dance music let's do dance music." I come from a dancer's background. We're not tapping into a lot of this stuff that would be a lot of fun for me, I'm surrounded by a lot of great, talented people. I'm lucky with that. A lot of the people I was working with didn't want to do that, so I found a whole new camp. In regards to the title track and the message behind the album/song, Tiffany explained: When New Kids On The Block started opening for me on the first round of the tour, I think that opened my eyes a lot, because I saw so much how they would nurture their ideas rather than squash them. Sometimes their ideas were outlandish and it was, "We will get there, but that's a good idea a year from now." A lot of people around me made just didn't listen. So I kind of knew; when I started working on the New Inside project and "New Inside" itself, that's what the song is about.
Of course, we made
Poinciana is an album by jazz pianist Ahmad Jamal recorded at the Spotlite Club in Washington, DC in 1958 and released in 1963. The title song is the 45 rpm studio version. "Poinciana" – 2:58 "You Don't Know What Love Is" – 4:21 "A Gal in Calico" – 4:45 "Ivy" – 2:45 "Tater Pie" – 2:56 "Autumn Leaves" – 7:34 "This Can't Be Love" – 4:48 "Old Devil Moon" – 3:50 Ahmad Jamal – piano Israel Crosby – bass Ray Crawford – guitar Vernel Fournier – drums "Ahmad Jamal's Recording of'Poinciana' Turns Fifty" by Ted Gioia