text:
Q: switch VS if which is faster when not comparing =? I know that usually switch case is faster than if else if when whe are talking about something like this
if (a==0) statement1;
else if (a==1) statement2;
else if (a==2) statement3;
else statement4;

In this case it should be easier for the compiler to perform efficiently
switch (a){
case 0:
statement1;
break;
case 1:
statement2;
break;
case 2:
statement3;
break;
default:
statement4;
}

But I do not know what hapens with the next code:
#include <stdio.h>
int main(){
    int value;
    puts("introduce a value (0-1000)");
    scanf("%i" , &value);
    if(value > 400) printf("%i is greater than 400", value);
    else if (value >300) printf("%i is smaller than 401 and greater than 300", value);
    else if (value >200) printf("%i is smaller than 301 and greater than 200", value);
    else if (value > 100) printf("%i is smaller than 201 and greater than 100", value);
    else printf("%i is smaller than 101", value);
    return 0;
}

Is it faster than this one?
#include <stdio.h>
#include <limits.h>
int main(){
    int value;
    puts("introduce a value (0-1000)");
    scanf("%i" , &value);
    switch(value){
        case 401 ... INT_MAX:
        printf("%i is greater than 400", value);
        break;
        case 301 ... 400:
        printf("%i is samller than 401 and greater than 300", value);
        break;
        case 201 ... 300:
        printf("%i is samller than 301 and greater than 200", value);
        break;
        case 100 ... 200:
        printf("%i is samller than 201 and greater than 100", value);
        break;
        default:
        printf("%i is samller than 101", value);
    }
}


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The following is a press release from the Murphy Police Department in reference to the fire behind Walmart this morning. This case is currently under investigation by the Murphy Police Department and the North Carolina Forest Service.
There was a brush fire today in a field area behind Walmart in Murphy. The fire consumed approximately 2.5 acres and was reported to Cherokee County Dispatch.
The following agencies responded: The Murphy Police Department, Cherokee County Sheriff's Office, North Carolina Wildlife, Murphy Fire Department, Peachtree Fire Department, Ranger Fire Department, and North Carolina Forest Service.
Thanks to the fast actions of the Fire Departments and NC Forest Service, the fire was extinguished.
This case is currently under investigation. We would like to thank everyone involved for the fast action in getting this fire put out.


Discussion in 'General Theology' started by Neostarwcc, Nov 9, 2018.
So recently I was introduced to the idea that the New Heavens and the New Earth could in fact have a sun and moon. I and many people before me may have misinterpreted Isaiah 60:19-21 and Revelation 21:23. Notice in those verses that it doesnt say that there WON'T be a sun and moon but that the New Jerusalem won't NEED the sun and moon to shine on it. I misread that it said that there will be no sin and moon but to say that is adding stuff to the text that just isn't there. Its very possible that the New Earth will have a sun and moon. So what do you think? Does it have a sun and moon? Why or why not?
That's a tough one. Our focus will be on communication and fellowship so if they do exist, they won't be thought about in the same way. The focus will have changed.
Natural E/c2 - All mass is basically cooled plasma, the sun is the visible form of E/c2.
Mental E/c2 - Mentally, A mathematical formula, but this has chemical and spiritual properties as well.
God is going to change all mass back into the plasma energy from whence it was forged... And he will do something else with it!
The plasma awaits its disassociation! It will soon become something else!
I believe God created the sun and stars as a way to illuminate and warm while he is away. The new heavens and earth will be something else. I think it will be interesting to see what God does with the new reality. As God is energy and light, and in abundance, he may not need auxiliary forms of light and energy.
Well one argument I've heard is that our current Earth cannot survive without a sun or a moon so how can the New Earth? A rather weak argument if you ask me. Because, God can do anything so why can't he make a Earth that has no need for a sun or moon? I mean the glory of God could give life giving heat and light.
Think that God will be providing the light in heaven but, it won't be coming from a sun as we know it and see it?
That's very possible and what I used to believe. I don't know what I believe now. I mean we will all find out 1,000 years after Jesus returns what the truth is.
God will be the sun plus there will be no more darkness. I believe that we will be to consumed with fellowship and spending time with God to be like so what are the planets are we alone lol.
Truth is Jesus is coming back and we all need to stay lit.
Even if there is a sun or moon (celestials), His light will literally be brighter than the sun. There is no need for anything to light our night sky with Him, and His light will light the entire world.
It can be hard to visualize if your boundaries conditions are too restrictive.
Oh certainly. God's light is definitely brighter than the sun. Especially when revelation and Isaiah both say there will be no need for the sun to shine on it. If there is a sun it would probably be for mankind's benefit and not because the New Earth will need one.
He's going to create everything new. What that is exactly is unknown.
Maybe no sun, but will be a moon.


text:
Bryston B-135 SST2 Integrated Amplifier
by Kirk Midtskog
Not many high-end audio marques have survived to observe their 50th anniversary. Bryston, a Canadian company with product lines in both the professional and consumer markets, celebrated fifty years of existence in 2012. With an impressive client list, including concert halls, production studios, educational institutions, and, of course, many private consumers, Bryston has a solid foundation in the specialty audio industry.
The new B-135 SST2 integrated amplifier handles basic pre- and power amplification duties for $4695, and if you add the optional on-board DAC ($1395) and moving-magnet phono section ($600), you have a single-box solution that will cover many different input, conversion, and amplification requirements. (The DAC supports up to 96/24 resolution files through two S/PDIF and two TosLink inputs, no USB.) The B-135, without either the DAC or phono section (as reviewed), has seven single-ended line-level inputs, a preamp output and power amp input, a 1⁄4″ headphone jack, and a tape loop. Some of the line-level input pairs are commandeered for the add-on phono or digital inputs if you buy those options. One line-level input can be assigned as a "pass-through" for use with a home-theater processor. The hefty, full-featured, programmable, remote handset is also optional ($375). The B-135 has a balance control, which allows users to attenuate a channel up to 6dB, as well as a nifty channel-muting function—sometimes useful for troubleshooting. There are additional inputs for an external infrared remote-control relay unit and a 12-Volt remote trigger connector for convenient turn-on and turn-off of all devices connected to the B-135. In versatility and features, the B-135 pretty much covers all the bases.
Micah Sheveloff, Bryston's U.S. media representative, assured me that the B-135 is not merely a beefed-up version of its predecessor, the B-100. Bryston took two years to develop the B-135, and it incorporates some technology from the SP-3 processor as well as elements from its latest SST2 power amplifier line. The volume control uses a computer-controlled, motorized analog potentiometer, which allows remote-controlled operation while still employing only fully discrete analog circuitry throughout the preamp section. Bryston claims that most solid-state Class AB power amps have lower distortion in the top two thirds of their power-output ranges as well as better distortion figures in the lower frequencies, thereby leaving the first few watts and the upper frequencies to be relatively distortion-laden. According to Bryston, their SST2 technology cleans up distortion in those problem areas, as well as addresses much of the crossover notch distortion (common in Class AB operation amplifiers), where the signal is "handed off" between the positive-going phase and the negative-going phase. Bryston apparently employs very fast drivers and a method called "Quad Complimentary Output," which is said to reduce the capacitance seen by the drivers, and this, in turn, reportedly significantly reduces distortion- inducing "storage delay" in the output transistors right in the crossover region. Other aspects of SST2 topology include the following: no point-to-point wiring in the power-supply circuitry which Bryston found reduces noise, new output chokes to help lower distortion in the upper frequencies, a soft-start circuit to reduce wear and tear, and finally, simplification of several circuit assemblies to bring down the number of signal-smearing contact points.
The overall fit and finish of the casework and the sense I get from interacting with the B-135 point to a well-made product. The tactile elements, such as using the buttons, volume control, and connectors, all engender a feeling of confidence. Even the speaker- cable binding posts, custom-made for Bryston, require less fiddling than usual to get large spades to seat—at least compared to the slotted WBT binding posts I have come across. Inputs are selected directly by pressing the corresponding button on the either the front faceplate or the remote. You do not have to cycle through input selections until you reach the one you want. Bryston's attention to detail shows. Output power is listed as 135Wpc into eight ohms and 180Wpc into four. I do not have headphones, so I did not try that feature. I added about 200 hours of additional break-in time after I received the review sample, which presumably also had its standard 100-hour burn-in at the factory.
My first impression of the B-135's sound can be summed as "immediate and powerful"—powerful for its physical size and output rating, that is. Bass extension and dynamic snap were commendable, suggestive of a power supply capable of delivering ample power reserves on demand. The B-135 had little trouble driving my somewhat difficult to drive Dynaudio C1 II speakers (4 ohms, 85dB sensitivity), except on very demanding music. Individual images appeared to be a bit larger—especially in the center of the soundstage—and closer than I am used to, thereby contributing to a feeling of immediate presence. The front of the soundstage also tended to hang in space in a plane a little more forward than usual, which also added to my perception of being nearer to the musicians. Using terms like "forward" often means a tendency towards brightness, but this really isn't the case here. In fact, if I consider its overall tonal balance, the B-135 comes across as essentially neutral, with only a hint of extra energy in the 2–4kHz zone. It is a near perfect tonal match with the Dynaudio C1 II speakers and will most likely partner very well with the majority of speakers it dances with.
The B-135 tended to accentuate the primary elements of the music, the main musical line, and the principal music- makers—such as the lead singer or most prevalent group of instruments—at any given moment in a recording. As a result, my initial response to the overall presentation was one of enjoying the clarity with which these primary musical constituents were represented. Patricia Barber's voice and Michael Arnopol's acoustic bass in "Winter" from Modern Cool [Premonition], for example, came across as "direct" with very little coloration of any kind intruding on the performance—despite rather odd recording values like too much reverb on Barber's vocals. I think some of the B-135's straightforward character comes from its somewhat forward soundstaging, as mentioned, and also through its apparent dynamic agility. It is not hyper- or over-charged; it just comes across as clean and direct. As I already alluded to, the B-135 mated quite well with the Dynaudio C1 II, not only tonally but also because of the C1's less-forward soundstaging and its ability to unravel overlapping dynamic events quite well. This helped the B-135 sound more musically complete and less dimensionally restricted to two or three depth-levels, as was the case when it was paired with the Aerial 7T.
Whether you like the B-135's somewhat straightforward presentation is something you will have to determine for yourself. What else is available at a similar price? I still have the larger and heavier Hegel H200 that I reviewed in Issue 211. The H200 was awarded integrated amplifier Product of the Year in 2011 in Issue 219. It costs $4400, puts out 200Wpc into 8 ohms, 350Wpc into 4 ohms, and has three line-level inputs (one is balanced/ XLR), a record out, two preamp outputs, a power amp input, and two pairs of speaker binding posts per channel. No phono or internal DAC options are available for the H200, although Hegel offers two other integrated models with on-board DACs. The B-135 has more features and inputs, and has better casework, although the Hegel's slightly curved, smooth faceplate and understated aesthetics are certainly easy on the eyes.
To my ear, the H200 simply offers a more complete musical experience overall. Through the H200, notes start just a bit sooner and continue longer before they dissolve into the noise floor. The H200 also supplies more ambient air, or interstitial space, around the musicians, and this enhances one's sense of the context in which the music-making took place. The B-135 throws about the same size soundstage from side to side (about one foot beyond the outer speaker panels), but the H200 has considerably more depth portrayal, both of individual images and of the greater soundstage envelope. The H200 tends to render individual images on a slightly smaller scale than the B-135 does, but the H200 uses its total available soundstage "frame" to include more of the surrounding spatial context, and so images within that frame are necessarily a bit smaller. Almost counterintuitively, the H200 sounds at once more relaxed and more revealing. One "sees" deeper into the performances. The H200's bass is also a little more robust, lending a feeling of greater solidity and foundation, especially on larger orchestral works.
As you can tell, I prefer the H200's sonic personality, but this does not mean it will shake out the same way for others. In other systems, some listeners may find the H200 to sound too laid- back or not as "quick" as the B-135. The Bryston will definitely work better for headphone users or those with a lot of source devices. There is also a price consideration. The Hegel H200 comes with a remote handset for $4400; the Bryston B-135 costs $4695, and its remote, which I consider mandatory, adds $375 for a total of $5070. These prices are close enough to make both two amps viable options for listeners searching for an amplifier in this price bracket. That said, the cost advantage does go to the Hegel H200, with enough of a savings to leave some funds left over for a cable upgrade. There's also the issue of company longevity and warranty; Bryston offers a 20-year warranty vs. three years for Hegel, and Bryston's 51-year track record.
Speaking of cables, I did a cross check with cables (and speakers) I typically do not use for much of my listening these days as a way to "triangulate" on the Hegel's and Bryston's respective differences more thoroughly. In this instance, I used Analysis Plus Big Silver Oval speaker cables, Wegrzyn Copper Slam power cords, and Dynaudio C1 II loudspeakers. My impressions of both integrated amps were confirmed when I also listened though more revealing products like Shunyata Research Anaconda ZiTron speaker cables and power cords together with Aerial 7T speakers. The differences between the two amps were simply made more apparent through the more revealing (and more expensive) setup. I did not use any power conditioners for this review.
The Bryston B-135 certainly is a well made, versatile, and reasonably powerful integrated amp. It will meet some users' needs just right, sonically and in terms of connectivity and usefulness. Even if I would, personally, chose another integrated, I still appreciated the B-135's rhythmic snap and straightforward presentation. I think it will hit some people's sweet spot on the button. It is certainly worth your consideration.
Power output: 135Wpc
Inputs: Seven line-level and one "amp-in" (RCA), 12V trigger port, auxiliary remote-relay jack
Outputs: Preamp (RCA), record (RCA), headphone jack, speaker terminals
Dimensions: 17″ x 4.55″ x 14″
Price: $4695, optional BR2 remote adds $375
Bryston Limited
677 Neal Drive
Peterborough, Ontario Canada
K9J 7Y4
bryston.com
Analog Source: Basis Debut V turntable with Vector 4 tonearm, Benz-Micro LP-S cartridge
Digital Sources: Ayre C-5xeMP universal disc player, Sony VAIO VGN-FZ-490 running JRiver MC 17, Hegel HD2 and HD20 DACs
Phono stage preamp: Ayre P-5xe
Line stage preamp: Ayre K-1xe
Power amplifiers: Gamut M-200, Gamut M250i
Speakers: Dynaudio Confidence C1 Signature, Aerial 7T, YG Kipod II Signature Passive
Cables: Shunyata Anaconda ZiTron signal cables, Analysis Plus Big Silver Oval speaker cables, AudioQuest Coffee USB and Hawk Eye S/PDIF, Shunyata Anaconda and Cobra ZiTron power cables
A/C Power: Two 20-amp dedicated lines, Shunyata Triton and Typhon power conditioners
Room Treatments: PrimeAcoustic Z-foam panels and DIY panels
by TAS Staff
by Robert Harley
Graham Audio LS5/9f Loudspeaker
by Robert E. Greene
Cambridge Audio CXN V2 Network Audio Streamer and CXA81 Integrated Amplifier
by Muse Kastanovich
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redpajama_set_name: RedPajamaCommonCrawl


Eye-related pathological conditions such as glaucoma, diabetic retinopathy, and age-related macular degeneration commonly lead to decreased peripheral/central field, decreased visual acuity, and increased functional disability. We sought to answer if relationships exist between measures of visual function and reported prosocial behaviors in an older adult population with eye-related diagnoses. The sample consisted of adults, aged ≥60 years old, at an academic hospital's eye institute. Vision ranged from normal to severe impairment. Medical charts determined the visual acuities, ocular disease, duration of disease (DD), and visual fields (VF). Measures of giving help were via validated questionnaires on giving formal support (GFS) and giving informal support; measures of help received were perceived support (PS) and informal support received (ISR). ISR had subscales: tangible support (ISR-T), emotional support (ISR-E), and composite (ISR-C). Visual acuities of the better and worse seeing eyes were converted to LogMAR values. VF information converted to a 4-point rating scale of binocular field loss severity. DD was in years. Among 96 participants (mean age 73.28; range 60–94), stepwise regression indicated a relationship of visual variables to GFS (p < 0.05; Multiple R 2 = 0.1679 with acuity-better eye, VF rating, and DD), PS (p < 0.05; Multiple R 2 = 0.2254 with acuity-better eye), ISR-C (p < 0.05; Multiple R 2 = 0.041 with acuity-better eye), and ISR-T (p < 0.05; Multiple R 2 = 0.1421 with acuity-better eye). The findings suggest eye-related conditions can impact levels and perceptions of support exchanges. Our data reinforces the importance of visual function as an influence on prosocial behavior in older adults.
The source of the data on which this paper was based is the respective set originally gathered for and utilized by the doctorate dissertation of Merideth D. Smith, Ph.D.


text:
Das Michelangelo-Virus ist ein Bootvirus für DOS-Systeme auf AT- oder PS/2-Rechnern. Es war das erste Computervirus, das große Aufmerksamkeit in den Medien und Nachrichten erlangte. Im Nachhinein etablierte sich für die übertriebene Berichterstattung die Bezeichnung "Michelangelo-Hysterie".

Das Virus war keine Neuentwicklung. Michelangelo basierte auf dem bereits seit 1987 bekannten Bootvirus Stoned, das auch unter den Namen Marijuana oder New Zealand Virus bekannt ist. Der Viruscode war entsprechend modifiziert, damit Antivirus-Programme ihn nicht mehr erkennen konnten.

Herkunft
Zum ersten Fund des Virus' gibt es unterschiedliche Angaben. Am verlässlichsten dürfte die Fachzeitschrift Virus Bulletin sein, die in der Ausgabe vom Oktober 1991 Australien als ersten Fundort nannte. Möglicherweise wurde dort aber auch nur der Viruscode erstmals isoliert.

Laut einigen anderen Quellen wurde Michelangelo erstmals im April 1991 in Neuseeland entdeckt. Als im Juli 2017 ein Rückblick zur Michelangelo-Hysterie abgedruckt wurde, gab der Heise-Verlag in der Zeitschrift c't an, dass das Virus bereits im Februar 1991 gefunden wurde. Außerdem geben einige Websites an, dass Michelangelo erstmals in den Niederlanden oder in Schweden entdeckt wurde, meist wieder mit April 1991 als Datum.

Der Urheber der Malware ist unbekannt.

Aliasse
Der Quellcode von Michelangelo enthält keine Signatur, Versionsnummer, Daten oder Namen. Der Entdecker des Virus, der australische Ingenieur und Programmierer Roger Riordan, stellte fest, dass der Payload am 6. März ausgelöst wird. Er wollte das Schadprogramm nach einem Freund benennen, dessen Geburtstag auf dieses Datum fällt. Dieser schlug vor, stattdessen den Namen einer bekannten Persönlichkeit zu verwenden. Das Geburtsdatum des Renaissance-Künstlers Michelangelo erwies sich dann als passend.
Da es für Computerviren keine festgelegte Nomenklatur gibt, sind mehrere Trivialnamen gebräuchlich. Ebenso verwenden Hersteller von Antivirensoftware verschiedene Bezeichnungen für Malware. Aufgrund der Medienpräsenz, die das Virus 1992 erlangte, ist es aber vor allem unter dem Namen "Michelangelo" ein Begriff.

Weitere Namen sind Stoned.March6.a und Stoned.Michelangelo.

Funktion
Das Virus soll zu MS-DOS/PC DOS kompatible DOS-Systeme infizieren, es greift das Betriebssystem jedoch nicht an und führt auch keine internen Befehle aus. Michelangelo agiert größtenteils, wie es typisch für Bootviren ist, auf BIOS-Ebene. Michelangelo ist eine Variante des Stoned-Virus. Dabei wurden weite Teile des Codes neu geschrieben, es handelt sich nicht um eine simple Modifikation. Das Virus verwendet keine Stealth- oder Polymorph-Techniken, um sich vor dem Anwender oder vor Antiviren-Scannern zu tarnen.

Infektion
Wird ein passender Rechner von einem infizierten Datenträger gebootet, reserviert sich Michelangelo zwei Kilobyte Systemspeicher unter der Adresse 40h:13h. Dann kopiert sich der Viruscode in diesen Bereich. Ist eine Festplatte vorhanden, liest der Virus den  (MBR) und prüft, ob dieser bereits infiziert ist. Genau wie der Stoned-Virus vergleicht auch Michelangelo die ersten 4 Bytes des MBR mit den ersten Bytes seines eigenen Code. Bei Nichtübereinstimmung versucht das Virus zu infizieren. Michelangelo speichert den ursprünglichen MBR in Spur 0, Kopf 0, Sektor 7. Die letzten 66 Bytes des MBR, die die Partitionstabelle enthalten, werden an das Ende des Viruscodes kopiert und dann in Spur 0, Kopf 0, Sektor 1 geschrieben. Nach der Infektion der Festplatte überträgt der Virus die Kontrolle im Chainloading-Prinzip an den ursprünglichen Boot-Code des MBR.

 Auf Festplatten verschiebt das Virus den ursprünglichen Master Boot Record zu Zylinder 0, Kopf 0, Sektor 7.
 Auf Disketten, falls deren Kapazität 360 kB beträgt, wird der original Bootsektor zu Zylinder 0, Kopf 1, Sektor 3 verschoben.
Auf anderen Disketten verschiebt das Virus den ursprünglichen Bootsektor zu Zylinder 0, Kopf 1, Sektor 14.
 Das ist das letzte Verzeichnis einer 1,2-MB-Diskette.
 Das ist das vorletzte Verzeichnis einer 1,44-MB-Diskette.
 Dieses Verzeichnis existiert nicht auf 720-kB-Disketten.

Obwohl das Virus DOS-Systeme infizieren sollte, kann es auch leicht unter anderen Betriebssystemen zu Schäden kommen, da es, wie viele andere Viren auch, den  einer Festplatte infiziert. Nachdem ein System infiziert wurde, wird jede Diskette, auf die das System zugreift, unverzüglich infiziert. Auf IBM-PC-kompatiblen Rechnern besteht durch ein Programm grundsätzlich keine direkte Möglichkeit, um zu prüfen, ob aktuell eine Diskette ins Laufwerk eingelegt ist. Schreib- und Lesevorgänge werden auch bei leerem Laufwerk ausgeführt, geben dann aber eine Fehlermeldung zurück. Eine unbemerkte Infektion war erst möglich, nachdem durch den Anwender ein aktiver Zugriff auf das Laufwerk stattfand. Da das Virus die meiste Zeit keine Auswirkungen zeigte, war es durchaus möglich, dass eine Infektion über Jahre unentdeckt blieb. Dass Michelangelo aufgrund seiner Art, Disketten zu infizieren, in den kommenden Jahren aussterben würde, war somit absehbar. Das Virus konnte sich nicht effektiv über 3,5"-Disketten verbreiten, und das 5,25"-Format war bereits veraltet. Der Vervielfältigungs-Code des Virus ist für Disketten mit 15 Sektoren pro Spur sowie auf Festplatten ausgelegt. 3,5"-Disketten mit 720 KByte waren somit komplett immun gegen Michelangelo. Die HD-Variante mit 1,44 MByte wird infiziert und könnte beim Bootvorgang auch weitere Infektionen verursachen. Solche Disketten sind aber nach der Infektion nicht mehr lesbar und müssen (virusfrei) neu formatiert werden. Es erscheint dann die Fehlermeldung: Allgemeiner Fehler beim Lesen von Laufwerk X:. Für die Weiterverbreitung von Bootviren ist eine defekte Diskette in der Praxis weitgehend sinnlos. Für effektive Ausbreitung ist ein solches Virus auf nicht-schreibgeschütze Bootdisketten angewiesen. Rechner mit dem Betriebssystem DR-DOS können jedoch auch diese Disketten einwandfrei lesen und verarbeiten.

Wird der Bootsektor nicht nur von Michelangelo, sondern zusätzlich von einem anderen Bootvirus infiziert, kann das zur Folge haben, dass beim Systemstart der MBR nicht mehr gefunden werden kann. In diesem Fall muss der Rechner mit einer Diskette gebootet werden, um den MBR anschließend neu zu schreiben.

Payload
Das Virus enthält eine Logikbombe, die am 6. März, dem Geburtstag von Michelangelo Buonarroti, gezündet wird. Es gibt keinen Hinweis auf den Künstler innerhalb des Viruscode, und es ist generell zu bezweifeln, dass der Autor eine Verbindung zwischen dem Virus und Michelangelo herstellen wollte. Ein wahrscheinlicheres Szenario ist, dass der Virus ein Angriff gegen das zu dieser Zeit besser bekannte Jerusalem-Virus war, das an jedem Freitag, den 13. einen ähnlichen Payload aktivierte. Da dieser Angriff genau eine Woche vor Freitag, 13. März 1992 lag, wären Computer-User betroffen gewesen, die glaubten, sich vor dem Jerusalem-Virus schützen zu können, indem sie am 12. März das Systemdatum verändern. Einer weiteren spekulativen Annahme nach wurde das Virus vom Entwickler kurz nach dem 6. März fertiggestellt. Den Trigger erst in einem Jahr zu aktivieren gab Michelangelo die nötige Zeit, um sich zu verbreiten. Allgemein werden Viren, die ihren Payload an einem bestimmten Tag im Jahr aktivieren, als "Geburtstagsvirus" bezeichnet. Ein weiterer bekannter Vertreter ist die erste Version des CIH-Virus. Bei jedem Start eines infizierten Systems prüft Michelangelo das Systemdatum. Wird am 6. März kein Bootvorgang ausgeführt, löst man den Payload nicht aus. Durch Dauerbetrieb, der 1992 bei Netzwerkservern bereits üblich war, konnte ein System dem Schaden entgehen. Sollte es sich bei dem bootenden PC um einen AT oder einen PS/2 handeln, überschreibt das Virus an diesem Datum die ersten 100 Sektoren der Festplatte mit Nullen. Das Virus geht von einer Geometrie von 256 Zylindern, 4 Köpfen und 17 Sektoren je Spur aus. Obwohl sämtliche Benutzerdaten weiterhin auf der Festplatte vorhanden sind, waren sie für den durchschnittlichen Benutzer unauffindbar und somit verloren.

Die Auswirkungen auf Datenträger waren im Einzelnen:
 Bei Disketten überschreibt der schädliche Code zuerst alle Informationen auf Spur 0, dann auf Spur 1 etc.
 Auf einer 360K-Diskette werden die Sektoren 1–9 sowie die Köpfe 0 und 1 zerstört.
 Auf anderen Diskettentypen werden die ersten 14 Sektoren jeder Spur zerstört.
 Auf einer Festplatte zerstört der Virus die ersten 17 Sektoren auf jeder Spur, Kopf 0, 1, 2 und 3.

Zum Überschreiben verwendet Michelangelo den Inhalt von Speicherort 5000h:0000h. Da der Payload noch vor dem eigentlichen Systemstart ausgelöst wird, handelt es sich dabei vermutlich um einen Block Zero-Bytes. Bei mehreren Systemplatten überschreibt Michelangelo diese nacheinander. Ein sofortiges Abschalten des Rechners konnte somit die Daten auf der zweiten Platte retten. Eine Datenwiederherstellung war mit üblichen Mitteln aussichtslos.

Situation 1992

Die Michelangelo-Hysterie
Der Entdecker von Michelangelo, Roger Riordan, schrieb kurz nach dem Virusfund ein maßgeschneidertes Antiviren-Programm und vertrieb es als Shareware über seine parallel laufende Softwarefirma Cybec. Als das britische Virus Bulletin Michelangelo im Oktober 1991 zum ersten Mal in seiner Malware-Hitliste aufführte, gingen IT-Kundige von einer eher moderaten Gefahr aus. Der Schädling hatte verglichen mit bereits bekannten Viren nichts wirklich Neues zu bieten.

Michelangelo erlangte im Januar 1992 große internationale Aufmerksamkeit, als sich herausstellte, dass einige Computer- und Softwarehersteller das Virus versehentlich mit ihren Produkten ausgeliefert hatten, z. B. der LANSpool-Printserver von Intel. Obwohl von der Printserver-Software nur 839 betroffene Disketten verschickt wurden, berichteten die Massenmedien meist von ungleich höheren Zahlen. Eine schlimmere Infektionsquelle stellte vermutlich eine verseuchte Master-Diskette in einem taiwanischen Kopierwerk dar. Über die Treiberdiskette der beliebten Artec-Maus konnte man sich daher den Michelangelo-Virus einfangen, wenn sie versehentlich beim Bootvorgang noch im Laufwerk eingelegt waren. Die Maus wurde 20.000-mal verkauft, der Anteil der infizierten Disketten ist aber unklar. Auch Treiber für Grafikkarten wurden in diesem Kopierwerk mit dem Virus verseucht.

Schon bald wurde in Presse und Nachrichtenmagazinen behauptet, 5 bis 15 Millionen Computer könnten mit Michelangelo infiziert sein. In Deutschland sprang Reuters auf den Zug auf und berichtete ebenfalls von Millionen befallenen Rechnern. Die Jugendzeitschrift Bravo brachte einen Artikel mit dem reißerischen Titel: "Computer-Besitzer in Angst! Gehen am 6. März alle Computer kaputt?". Die Medienaufmerksamkeit war weltweit groß, in Deutschland prägte sich später der Begriff "Michelangelo-Hysterie". In englischsprachigen Ländern spricht man gleichbedeutend von der "Michelangelo Madness".

Das BSI richtete eine spezielle Hotline ein. In der Zeit vom 17. Februar bis zum 1. März 1992 gingen rund 1.000 Anrufe ein, die allgemeine und spezielle Fragen zu Computerviren und Antivirusprogrammen betrafen. Man gab eine behördliche Warnung heraus. Das CERT gab im Februar 1992 Hinweise für den Umgang mit Michelangelo heraus.

Mehrere Fachleute, darunter einige Vertreter des Chaos Computer Clubs, sprachen von einer grundlosen Panikmache.

Professor Klaus Brunnstein, der damals an der Universität Hamburg ein Viren-Test-Center leitete, vertrat dagegen die Meinung, Michelangelo sei eine ernstzunehmende Gefahr. Der Virus sei sehr schädlich und vermutlich weit verbreitet.

Die Auswirkungen
Am 6. März 1992 berichteten die Morgennachrichten in Deutschland bereits von ersten Fällen in Uruguay. Bei einigen militärischen Rechnern war die Systemzeit falsch eingestellt gewesen, daher wurde Michelangelos Payload vorzeitig ausgelöst. Im Laufe der nächsten Tage zeigte sich dann, dass es lediglich 10.000 bis 20.000 Fälle von Datenverlust weltweit gegeben hatte. In Deutschland wurden 150 betroffene Computer gemeldet, der erste Fall betraf den Firmenrechner einer Druckerei aus Aachen. Das war weit unter den Erwartungen der Öffentlichkeit.

Die britische Fachzeitschrift Virus Bulletin stuft die gesamten Auswirkungen von Michelangelo in einer Rückschau als "moderat" ein. In Großbritannien wurden 117 betroffene PCs gemeldet. In den USA, wo die Hysterie am größten war, ging die Firma Dr Solomon's von etwa 7.000 Schadensfällen aus. McAfee berichtete von knapp 10.000. In Südafrika hatte es etwa 1.000 Rechner in verschiedenen Apotheken erwischt, weil sie eine Preisliste in elektronischer Form bezogen. Der Großhändler hatte versehentlich infizierte Disketten verschickt.

Laut BSI betrug die Schadensbilanz in den Folgejahren in Deutschland für 1993 rund 50 gemeldete Fälle und 1994 rund 20 Fälle. Der 6. März fiel in diesen Jahren auf ein Wochenende, weswegen vergleichsweise wenige Firmen-PCs betroffen waren. Als Gründe für das unerwartet geringe Ausmaß gelten:
 Die Verbreitung von Michelangelo und seine Infektionszahlen waren weit geringer als angenommen. Die unseriöse Berichterstattung hatte ein falsches Bild der Lage vermittelt.
 Im Vergleich zu anderen Viren von 1992 sind die bekannten Fälle plus Dunkelziffer nicht unbedingt gering. Realistische Vergleiche sind hier kaum möglich, da andere Schadensfälle durch Viren in der Öffentlichkeit nicht dieselbe Aufmerksamkeit wie Michelangelo bekamen.
 Viele Betroffene hatten ihren PC bereits gescannt und gesäubert.
 Eine mutmaßlich nicht geringe Anzahl von Anwendern schaltete den Rechner am Stichtag sicherheitshalber nicht ein.
 Andere Computerbesitzer verstellten rechtzeitig das Systemdatum, um den kritischen Tag zu überspringen.
 Viele Serveranlagen werden nach Möglichkeit durchgehend betrieben. Der Payload wurde aber nur beim Bootvorgang getriggert.

Die Nachrichten verloren das Interesse und das Virus wurde schnell vergessen. Trotz des oben beschriebenen Szenarios, dass ein System über Jahre unbemerkt infiziert bleibt, wurden bis 1997 kaum entsprechende Fälle bekannt. 1998 wurden lediglich bei der Firma Symantec wieder zwei Fälle gemeldet, dann war es endgültig ruhig um Michelangelo. Mittlerweile werden anfällige Systeme wohl kaum noch betrieben.

Die Rolle von John McAfee
Als Hauptverursacher der Medienpanik um den Michelangelo-Virus wird oft der amerikanisch-britische Unternehmer John McAfee genannt. Er war 1991 einer der noch wenigen Hersteller von Antivirensoftware. Die utopische Zahl von bis zu 15 Millionen infizierten Rechnern geht ursprünglich auf ihn zurück. Allgemein wird ihm bis heute vorgeworfen, dass er mit diesem Werbetrick nur den Umsatz seiner Firma erhöhen wollte.

Später stellte McAfee in einem weiteren Interview klar, dass er damals von den Journalisten gedrängt wurde, eine Zahl zu nennen. Da er sich aber nicht festlegen konnte und wollte, gab er bewusst eine schwammige Antwort. Er sagte, es können "5.000 oder 15 Millionen infizierte Rechner" sein. In der Folge wurde er dann fehlerhaft zitiert, da den Medien die 15 Millionen anscheinend besser gefielen. Eine Panik auslösen oder einen Werbebetrug veranstalten sei nicht seine Absicht gewesen.

Die Verkaufszahlen des Antivirenprogrammes von McAfee schossen Anfang 1992 auf jeden Fall in die Höhe, er verkaufte in diesem Geschäftsjahr sieben Millionen Programme. Dieser Boom betraf im Lauf der Michelangelo-Hysterie aber auch alle anderen Hersteller von Virenscannern.

Einzelnachweise

Weblinks
 VirusBulletin.com: Virus Bulletin (incl. Analyse Michelangelo von Fridrik Skulason), Ausgabe Januar 1992 – PDF-Download (engl.)
 Cert.org: Offizielle Hinweise zu Michelangelo,Februar 1992 (engl.)
 DKIA.at: Der Source-Code von Michelangelo Textdatei(engl.)
 Malware.Wikia.ord: Michelangelo Datenbankeintrag (engl.)
 Sophos.com: Michelangelo Datenbankeintrag (engl.)

Schadprogramm
Computervirus
Bootsektorvirus

redpajama_set_name: RedPajamaWikipedia


Twice a month, you'll find David Watson and his "Breakfast Crew" up before the sun, cooking a hot breakfast in the kitchen at VOA's Unity House. For the past five years, David and his crew arrive around 6 a.m. every other Wednesday morning to prepare and serve breakfast to the homeless children and parents staying with us as they work towards self-sufficiency. The crew serves nearly 40 meals each time they volunteer, as well as shopping for and donating all of the food needed to make breakfast for the families. In May 2017, the Breakfast Crew reached an impressive milestone - more than 5,000 hot meals served at VOA Home's Unity House.
Because of his remarkable commitment to these families and Volunteers of America's mission, David was been named our 2017 Volunteer of the Year for his commitment to the people we serve and our mission. David was first introduced to our services at a Real3 Journey tour at the Unity House in 2011. David attended the tour as a guest of former board member and longtime supporter Steve Magre and quickly realized that he wanted to do something to help the families staying with us.
If you see a need, you act on it. I saw a need.
"I was moved by the whole experience – by the facts and figures of how many kids laid their heads there every day," David said of the tour. "My father was very involved in charitable work, so he taught me well – if you see a need, you act on it. I saw a need," David said.
After discussing how he wanted to help with Volunteers of America President and CEO Jennifer Hancock, David and a few friends and neighbors began bringing in food and serving a hot breakfast every other Wednesday, complete with eggs, bacon, sausage and French toast.
As time went on, more of David's friends joined in to help as part of the Breakfast Crew, including Paul Robertson, Steve Magre and Richard Beckley, who were present to see David accept his award, and to be recognized for all they have done to support the families at Volunteers of America as members of the Breakfast Crew. Scott Malony, John Distler, Willie Mathis and Michael Barnett have also been active Breakfast Crew members during the last five years.
David was presented with his award at the home of Barbara and Brandt Ford, during our annual board and Positive Change Society donor Valentine's Day social. Each year, this award is presented to a volunteer who has gone above and beyond in his or her service and compassion for Volunteers of America's programs and clients.
People need to know people care about them. That's what it's all about.
Serving breakfast at our family shelter provides a delicious, hot meal to help residents start their days on a healthy note, but even more importantly, demonstrates how much Volunteers of America staff, supporters and volunteers, like David and the Breakfast crew, care about seeing every person we serve succeed and move toward self-sufficiency.
"People need to know people care about them. When you're in that situation, having someone back there serving food and telling them their life matters is important," David said. "That's what it's all about."


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Home Allegedly Eboni Williams Allegedly Detained For Shoplifting In 2002 – .
Detained
Eboni
Eboni Williams Allegedly Detained For Shoplifting In 2002 – .
According to a police report obtained by the Daily Mail, when the now attorney at law was only 18-years-old, she was allegedly detained after trying to snatch a $245 pair of Stuart Weitzman pumps from a mall in Durham, North Carolina.
The outlet reportedly claims that fortunately for the former Fox News correspondent, the judge decided to dismiss the case all together. If the case had not been thrown out, it could have kept the 37-year-old from the ability to practice law.
A source explained to the Daily Mail, "Look, nobody's perfect. People are allowed to change their minds and make mistakes but don't make yourself out to be someone you're not and don't build your own brand on the backs of others and then trash-talk them all over town."
This report comes as the brand new housewife has had quite an interesting season on the Bravo show. Once one of the most loved shows on the network, the New York franchise has now had a season of low ratings and complaints that newbie Williams comes off as "too preachy" or "woke."
"All of the women work hard on this show and Eboni's come in and walked all over it and them," a source stated.
According to an insider who spoke to the British outlet, the producers have reportedly decided to postpone the reunion "indefinitely because the rift between Williams and key cast members has grown so toxic, they fear there is no going forward and no coming back."
"I don't know how they sit down together and figure this out. I don't know if it's even possible."
As the Revolt TV star has stated that the season's poor performance is due to production and editing, even the big wigs at Bravo are at a loss of what to do next.
"[The women] were under attack and the network was shocked. She has put everyone in a really s****y position," the source went on, also citing that this situation left show veterans LuAnn De Lesseps and Ramona Singer "reeling." The source noted, "What makes it even harder to stomach is the level of her hypocrisy."
Previous articleTom Holland 'Committed' To Prioritizing Relationship With Zendaya – .
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The Sea Hawk é um filme estadunidense 1940, do gênero aventura, dirigido por Michael Curtiz.

O filme foi baseado no romance Beggars of the Sea (literalmente Mendigos do Mar) do escritor ítalo-estadunidense Rafael Sabatini. Foi substancialmente reescrito para o cinema por Seton I. Miller, roteirista frequente de Howard Hawks, e depois por Howard Koch e Milton Krims.

O filme é considerado por muitos o maior capa e espada de todos os tempos.

Sinopse
Geoffrey Thorpe, uma adaptação livre de Francis Drake, decide atacar, para a coroa britânica, navios espanhóis carregados de ouro da América. Capturado por eles, Thorpe descobre um plano espanhol para matar Elizabeth I, rainha britânica na ocasião, no século XVI.

O filme contém uma fala da rainha encorajando os homens livres a não permitirem que o mundo seja dominado por um único império, um único homem. Essa fala também se aplica ao Reino Unido de 1940, então na Segunda Guerra Mundial, contra Hitler e seus aliados.

Elenco principal

Principais prêmios e indicações
Oscar
Recebeu quatro indicações, nas categorias de melhor direção de arte, melhores efeitos especiais, melhor trilha sonora e melhor mixagem de som.

Ligações externas
  Seton I. Miller - Films as Writer:, Films as Producer and Writer:, Film as Producer:

Filmes dos Estados Unidos de 1940
Filmes dirigidos por Michael Curtiz
Filmes com trilha sonora de Erich Wolfgang Korngold
Representações culturais de Isabel I de Inglaterra
Filmes de aventura dos Estados Unidos
Filmes de aventura da década de 1940
Filmes de capa e espada
Filmes em língua inglesa
Filmes em preto e branco
Filmes da Warner Bros.
Filmes sobre piratas


Last year, I was invited to meet with the Rt Hon Greg Clarke (Secretary of State for Business, Energy and Industrial Strategy) and BEIS colleagues at a regional launch of the industrial strategy green paper/consultation document. It's a pretty weighty paper, you can get a copy here. The 'ten pillars' all make sense and are all essential to any future industrial strategy.
My main interest is in the 'Delivering affordable energy and clean growth' section, or pillar. At first read you can immediately see why that sentence is structured as it is. It doesn't appear as if the government see 'affordable energy' and 'clean growth' as one and the same, but separate with some overlap. And quite how nuclear comes into the picture of 'affordable energy' takes some real mathematical and verbal gymnastics. Anyway, if you have time have a scan of the document.
There are some very encouraging noises about energy efficiency, EVs, emobility, and energy storage. This was backed up in conversations with the BEIS team. There seems to be a decent understanding of the capabilities of energy storage and some of the policy amendments that can really boost roll out and investment. There were some sensible questions about behind-the-meter, co-located and utility scale applications, and about what was happening in other countries. All encouraging for the energy storage, EV's and energy efficiency sectors. Much to applaud, but also much to press home in consultation response.
I managed to collar Greg Clarke along with hydrogen expert and client Amanda Lyne of ULEMCo, for a conversation. He seemed genuinely interested in the conversation about hydrogen, and the part that can play in long term energy storage, from excess wind and solar generation, for transportation, and for injecting into the gas grid and for heating. Transport and heating are two areas the government are significantly lagging in against decarbonising targets. A white paper, or full consultation response was requested. All good.
One glaring omission in the document, in my opinion, was the total absence of the word 'solar'. No mentions, zilch, nada, nowt. I broached this issue. When clean growth and job creation, as well as decarbonising electricity are key objectives of the industrial strategy, why no mention of solar, when it is proven to be the cheapest form of low/no carbon electricity, and it is proven to create large numbers of both white and blue collar jobs? Mr Clarke turned from pleasant human, to politician. A blank face that said 'solar isn't mentioned, really!' I pressed on why solar, and wind, were not allowed to access contracts for difference (CfD) auctions, knowing that playing on a level playing field they win hands down against traditional and dirty energy generation. Again the politicians response, 'be sure to respond to the consultation with your comments'. Certainly I will, It is important that the industry feed into the trade bodies that will be making formal responses, The Renewable Energy Association, Solar Trade Association and RenewablesUK. If you are a member support and contribute to the responses. If you have the resources in your company please do respond directly too.


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January 7, 2019 Firm Wins Victory Before the Fourth Circuit in First Amendment Case about Use of Social Media By Public Officials
The firm secured a victory in a pro bono matter that focused on whether the First Amendment applies to a government official's Facebook page. At issue in Davison v. Randall was a trial court's decision regarding whether Phyllis Randall, chair of the Loudoun County Board of Supervisors, violated the First Amendment rights of resident Brian Davison when she banned him from the "Chair Phyllis J. Randall" Facebook page she administered. The trial court ruled that Ms. Randall had unconstitutionally barred Mr. Davison from her Facebook page based on Mr. Davison's viewpoint, and Ms. Randall appealed.
Partner Jessica Ring Amunson and Associate Tali R. Leinwand represented the Knight First Amendment Institute at Columbia University, which argued on behalf of Mr. Davison.
Mr. Davison had used his personal Facebook page to post comments on Ms. Randall's Facebook page that criticized the Loudoun Board and Ms. Randall for actions taken in their official capacities. Ms. Randall subsequently deleted Mr. Davison's posts and banned Mr. Davison's account from her Facebook page. In November 2016, Mr. Davison filed a complaint against Ms. Randall and the Loudoun board, alleging that Ms. Randall's decision to ban Mr. Davison for expressing critical speech amounted to "viewpoint discrimination." Following a one-day bench trial, the trial court ruled that Ms. Randall had unconstitutionally barred Mr. Davison from her Facebook page based on Mr. Davison's viewpoint, and Ms. Randall appealed.
On January 7, 2019, the Fourth Circuit held that the Chair's Facebook page "bear[s] the hallmarks of a legal forum." "In sum," wrote Judge James A. Wynn, "the interactive component of the Chair's Facebook page constituted a public forum, and Randall engaged in unconstitutional viewpoint discrimination when she banned Davison's [private page] from that forum."
The Fourth Circuit's decision marks the first time an appellate court has addressed the applicability of the First Amendment to social media accounts run by government officials. In May 2018, a federal trial court in New York held that President Trump's blocking of critics on his Twitter page violates the First Amendment. That case, in which the firm serves as co-counsel with the Knight Institute, is currently pending before the Second Circuit.
CATEGORIES: First Amendment
PEOPLE: Jessica Ring Amunson, Tali R. Leinwand
February 21, 2017 Partner Leah Tulin Represents Congressman in Student Art Dispute
Jenner & Block Partner Leah J. Tulin is working on a pro bono basis in the First Amendment case of a former high school student whose award-winning painting was removed from public display in the US Capitol after it became the subject of a negative media campaign. Ms. Tulin is representing the artist, David Pulphus, and Rep. William Lacy Clay of Missouri, who each year sponsors a student artist from his district as part of the annual Congressional Art Competition. For the 2016 competition, Mr. Clay sponsored a painting by Mr. Pulphus called "Untitled #1," which depicts a scene from Ferguson, MO, with police officers and protestors represented as animals. After being on public display in the Cannon Tunnel in the US Capitol Complex for nearly seven months, the Architect of the Capitol ordered the painting removed in response to pressure from a number of conservative media outlets and a group of lawmakers.
In a lawsuit filed in federal district court on February 21, 2017, Ms. Tulin and the team allege that the painting's removal violated the First Amendment free speech rights of Mr. Pulphus and Mr. Clay. It is a basic and fundamental principle that the First Amendment prohibits the government from limiting or prohibiting speech just because it disagrees with a speaker's viewpoint, according to the complaint. The suit names the Architect of the Capitol Stephen Ayers as the defendant.
Joining Ms. Tulin on the team are Associates Tassity Johnson and Sati Harutyunyan.
News of the federal lawsuit was reported by media outlets including the St. Louis Post Dispatch, The Hill and The Washington Post.
CATEGORIES: Education, First Amendment
PEOPLE: Tassity Johnson, Sati Harutyunyan


In this episode, Rick & Sal discuss Battletoads for the Sega Genesis/Mega Drive. The brothers break down the infamous classic, as they play music from the Sega port. Also included are a few tracks from the Nintendo version, both composed by the great David Wise. Enjoy the Waves!
In this episode Rick and Sal reach for the stars to bring back the often forgotten SEGA mascot RISTAR from obscurity. The brothers discuss RISTAR for the SEGA Genesis / Mega Drive. They also breakdown gameplay mechanics, planets/levels and like always the episode is jam packed with music! Enjoy the Waves!
In Episode 7 Rick and Sal are joined by their very own Jedi Master Amir to discuss the music, movies and the 16 bit Super Nintendo Star Wars Trilogy. Enjoy the Waves!
Rick and Sal are joined by their good friend Matt to talk about the release of the NES Classic Edition and how the NES introduced them to the characters, games, and music that they still enjoy today. Enjoy the Waves!
In this Episode, Rick is joined by his brother Sal where they discuss retro/modern gaming and play some spooky VGM tunes that will haunt your 16 bit dreams. Enjoy the Waves!
Your buddies Rick and Jamie from RGB have put together 12 classic retro game tracks to celebrate Too Many Games! Each track is meticulously ripped from their original cartridges/cds and original consoles. Within, you're sure to find some great music, and more than likely, some memories. Enjoy the Waves!
In episode three of the podcast, Rick & Jamie discuss the Sega Genesis/Mega Drive Classic beat'em up Streets of Rage 2. The guys showcase composer Yuzo Koshiro for his legendary work on this 16-bit powerhouse. Enjoy the Waves!
In episode two of the podcast, Rick & Jamie discuss the Super Nintendo / Super Famicom game Donkey Kong Country 2: Diddy's Kong Quest. The guys showcase composer David Wise for his audio and technical innovations for the iconic 16-bit platformer. Enjoy the Waves!
In episode one of the podcast, Rick & Jamie discuss the classic Sega Genesis/Mega Drive game ToeJam and Earl in Panic on Funkotron. The guys showcase composer John Baker and breakdown some of the more memorable tracks from the 16-bit platformer. Enjoy the Waves!
In episode zero of the podcast, Rick and Jamie talk about their love of retro video games from an early age to their own musical background. Enjoy the Waves!


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Reduce downtime and save money – Products that require fewer coats and cure quickly to reduce labor and materials costs and get you back online faster than ever.
Take the heat – A full line of ambient and heat-cured coatings for ducts, stacks and boilers that tolerate high heat and reduce maintenance costs.
Clients include American Electric Power, Arcelor Mittal, Duke Energy and SUNOCO. Our project list shows our proven track record of global projects.


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Evil resurfaces in Derry as director Andy Muschietti reunites the Losers Club in a return to where it all began with "IT Chapter Two," the conclusion to the highest-grossing horror film of all time. Twenty-seven years after the Losers Club defeated Pennywise, he has returned to terrorize the town of Derry once more. Now adults, the Losers have long since gone their separate ways. However, kids are disappearing again, so Mike, the only one of the group to remain in their hometown, calls the others home.
Release Date: 6.09.2019
Release Date 6.09.2019
In a small town in Massachusetts, a group of friends perform a ritual in an attempt to debunk the lore of SLENDER MAN. When one of them goes mysteriously missing, they begin to suspect that she is, in fact, HIS latest victim.
Insidious: The Last Key
The creative minds behind the hit Insidious trilogy return for INSIDIOUS: THE LAST KEY. In the horror, which welcomes back franchise standout Lin Shaye as Dr. Elise Rainier, the brilliant parapsychologist faces her most fearsome and personal haunting yet: in her own family home.
Horror thriller "IT," directed by Andy Muschietti ("Mama"), is based on the hugely popular Stephen King novel of the same name, which has been terrifying readers for decades. The film tells the story of seven young outcasts growing up in the township of Derry, Maine, who call themselves "the Losers' Club." Each of them has been ostracized for one reason or another; each has a target on their back from the local pack of bullies…and all have seen their inner fears come to life in the form of an ancient shapeshifting predator they can only call It.
Tom Cruise headlines a spectacular, all-new cinematic version of the legend that has fascinated cultures all over the world since the dawn of civilization: The Mummy. Thought safely entombed in a tomb deep beneath the unforgiving desert, an ancient princess (Sofia Boutella of Kingsman: The Secret Service and Star Trek Beyond) whose destiny was unjustly taken from her is awakened in our current day, bringing with her malevolence grown over millennia and terrors that defy human comprehension.


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Home » Remarketing » Europe » Features » How ADESA will conquer Europe
How ADESA will conquer Europe
KAR Auction Services
COTW
Adesa
As we reported earlier, CarsOnTheWeb is now called ADESA Europe. But there's more to it than just a name-change. This could be the start of a big shake-up of Europe's Remarketing landscape. Let's dive behind the headlines with the two top execs who will be doing the shaking.
Based in Carmel, Indiana (US), KAR Auction Services, Inc. (KAR) has a presence in 75 countries worldwide, but most of its vehicle auction and remarketing business (more than 75 corporate and auction sites and 11,000 of its 15,000 employees worldwide) are in North America (US, Canada and Mexico).
3.4 million vehicles
Last year, the automotive marketplaces that make up the KAR Auction Services group sold more than 3.4 million vehicles for a total value of more than $40 (€35.4) billion, generating $2.44 (€2.16) billion in revenue. More than half the transactions are executed online. In recent years, the group has been bringing to bear its size and expertise in Europe.
In mid-2015, KAR acquired HBC Vehicle Services, a salvage vehicle auctions specialist located near London. In 2016 KAR acquired GRS Remarketing, an online whole car auction company located in Chester. The latter company was renamed 'ADESA UK', after the KAR brand that provides wholesale vehicle auction solutions to professional car buyers and sellers in North America. KAR's first foothold in Europe was tasked with bringing the parent company's remarketing capabilities to the UK.
KAR's next major foray in Europe was finalised in January 31 of this year, with the acquisition of Belgium-based CarsOnTheWeb (COTW). A robust online wholesale vehicle auction marketplace, COTW – now ADESA Europe - connects OEMs, fleet owners, wholesalers and dealers in more than 50 countries, mainly in continental Europe.
Cross-border sales
With 95% of its transactions involving cross-border sales, ADESA Europe stakes its claim as the continent's leading international remarketing platform. It has sales operations in Belgium, France, Germany, Italy, the Netherlands and Spain (now renamed 'ADESA Belgium', etc.), providing sellers in those countries (and buyers across Europe) with auction, transport and related support services.
KAR's moves, first into the UK and now into Europe, are part of a well-considered master plan, says Benjamin Skuy (pictured, top), KAR's Executive VP of International Markets and Strategic Initiatives: "KAR wants to expand internationally into countries where our business model – our brands, our technological tools – can flourish. After starting with the UK, we now move into continental Europe."
"Both ADESA UK and ADESA Europe will remain distinct companies with their own qualities. What was interesting about COTW is their expertise in online, cross-border auctions. For us, that's a sound basis for future expansion." Technology will be one lever for that expansion, says Mr Skuy: "We will be introducing common use of new technology. For example, in the next few months, we'll launch a self-inspection tool powered by artificial intelligence, both at ADESA UK and ADESA Europe. This is the first of its kind."
For ADESA Europe, the message to the market is twofold: yes, expansion and innovation on the one hand; but also continuity on the other, says Johan Meyssen (pictured, below), CEO of COTW – and now of ADESA Europe. "Our management team stays on board, as do our country managers. For our existing customers, it's business as usual – but, over the coming months and years, with the addition of extra tools and services."
The aim is also to build on the existing open-source service model and attract new customer segments with additional business models. For buyers, this will mean even more cars to choose from.
"Meanwhile, it's great to be part of the KAR Auction Services family, as this opens doors to commercial relations which currently exist in North America and the UK. Like Jonathan Holland, (Managing Director of ADESA UK.), I'll report to Benjamin, and I intend to make full use of his knowledge and expertise."
Volume opportunity
"We have significant aspirations for the European market – bigger than COTW could have managed on its own," Mr Skuy adds. "At its core, KAR is an open remarketer, the biggest provider of private-label auctions in North America. In Europe, we sense a huge volume opportunity that we will explore with ADESA Europe."
"But we will also look into offering additional services. The European Remarketing Association CARA has identified cross-border logistics as a major problem in the further development of remarketing in a European context, and rightly so. We intend to bring the logistics solutions we use in North America over to Europe."
"Apart from the self-inspection tool we'll be introducing shortly, we're also looking white label solutions, dealer financing, logistics solutions as mentioned, and expanding our GW Liste dealer-to-dealer model."
ADESA Europe will also be considering other European markets besides the six where it is already present. No names or dates yet, but it will be "where there are significant business opportunities in dealing with leasing companies, dealer networks and other potential client groups".
From logistics and dealer financing to the introduction of new tools and technologies and strong relationships with OEMs and other customer groups, KAR's support for ADESA Europe only points in one direction.
"Everything we will do will be with the intention of driving ADESA Europe's online remarketing business across Europe. Watch out for a lot more happening in the year to come," Mr Skuy concludes.
Authored by: Frank Jacobs
Groupe Argus
"Our clients are global, so KAR needs to be global too"
ADESA acquires CarsOnTheWeb


Head to Anse Lazio beach to view what is considered one of the most beautiful beaches in the world according to TripAdvisor Traveller's Choice. Think soft, white sand and azure ocean. Don't forget to take your goggles and snorkel.
For local, inexpensive cuisine that is bursting with flavour try La Goulue in Anse Volbert. Quickly becoming an institution on the island, head there early to avoid waiting for a table – it fills up fast! Try the Octopus Curry, you won't be disappointed.
Try to distinguish the sounds of the Black Parrot in Vallee de Mai Nature Reserve. Endemic to Praslin Island, the Black Parrot is also the national bird of the Seychelles. Rumour has it there is even a white, black parrot!
Get your hands on Made-In-Seychelles souvenirs from Albert & Mickey Durand's curio shop in Baie Ste Anne. Browse the many interesting and collectable items packed into the small shop…and If you're lucky, be serenaded by guitar-playing Albert.
Smell the fresh ocean air on a short 10-minute ferry ride to La Digue. Once there, hire a bike to explore the small island. Stop in at the old coconut plantation L'Union on your way to Anse Source d'Argent.
These are just some fun and interesting things to do on Praslin island, not forgetting the host of activities at Paradise Sun. See here for more details.


text:
Anne Valdespino
avaldespino@scng.com
Anne Valdespino never intended to be an editor. She's just another writer who took a wrong turn. Nevertheless, she has happily spent the last few years editing features in food, travel, Home and Garden and OCHOME magazine. A former editor at the Los Angeles Times and Orange Coast magazine, Anne started out as an entertainment reporter at The Orange County Register and recently returned to writing. She has come full circle, covering food and other lifestyle topics, and is back where she belongs.
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