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ST. LOUIS -Melissa Scanlan, known as ‘The Drug Llama,’ has been sentenced to 160 months in federal prison in the United States District Court for the Southern District of Illinois for trafficking fentanyl throughout the United States via the ‘dark web,’ engaging in an international money laundering conspiracy, and distributing fentanyl that results in death.
This case was part of a months-long, coordinated national operation involving the Drug Enforcement Administration St. Louis Division, the Food and Drug Administration – Office of Criminal Investigations, the United States Postal Inspection Service, the Department of Homeland Security, United States Customs and Border Protection, the United States Attorney’s Office for the Southern District of California, and the United States Attorney’s Office for the Southern District of Illinois.
‘With accessibility of fentanyl, it is imperative that the Drug Enforcement Administration and its law enforcement partners exploit all distribution avenues utilized by drug traffickers in Scanlan’s case,’ said DEA St. Louis Division Special Agent in Charge William J. Callahan. ‘Scanlan distributed poison in our community that resulted in death and she is now being held accountable.’
The crimes for which Scanlan was sentenced are as follows: one count of conspiracy to distribute fentanyl, five counts of distributing fentanyl, one count of selling counterfeit drugs, one count of misbranding drugs, one count of conspiracy to commit international money laundering, and one count of distribution of fentanyl resulting in death. The 32-year old San Diego native pleaded guilty to those charges in October 2019. Scanlan’s co-conspirator, Brandon Arias, 34, was previously sentenced to nine years in federal prison for his role in the conspiracy.
Facts disclosed in open court revealed that Scanlan and Arias created an account on ‘Dream Market,’ a dark web marketplace where users buy and sell illegal substances and services, and used that account to sell substantial quantities of narcotics while operating under the moniker, ‘The Drug Llama.’ The charged fentanyl distribution conspiracy lasted from October 2016 to August 2018, during which time Scanlan sold approximately 52,000 fentanyl pills throughout the United States.
According to court records, Scanlan and Arias made over $100,000 from their dark web drug trafficking and split the money evenly. Court records also demonstrated Scanlan’s participation in an international money laundering conspiracy with Mexican cartel members, as well as her role in aiding and abetting the distribution of fentanyl pills to a woman identified as A.W., who later died.
Commenting on the case, U.S. Attorney Steven D. Weinhoeft assailed the culture of criminality that exists on the dark web.
‘Criminals like Melissa Scanlan who recklessly flood our communities with opioids may think they can evade detection in the shadowy corners and back alleys of the internet,’ said U.S. Attorney Weinhoeft. ‘But they will find no quarter there. Where they go, we will follow. With the collaboration of outstanding investigators at our partner agencies, we will use every tool and method available to find these people and prosecute them to the fullest extent of the law.’
‘Illicit opioid distribution, whether online or through conventional drug distribution methods, and the resulting overdoses and deaths, are a continuing national crisis. Those who contribute to that crisis through their illegal actions will be brought to justice,’ said Special Agent in Charge Charles L. Grinstead, FDA Office of Criminal Investigations Kansas City Field Office. ‘We are fully committed to disrupting and dismantling illegal prescription drug distribution networks that misuse the internet at the expense of public health and safety.’
The dark web is an underground computer network that is unreachable by traditional search engines and web browsers, creating a seeming anonymity to users. This false cloak has led to a proliferation of criminal activity on dark web marketplaces, like the one used by Scanlan and Arias.
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The internet is a vast place. Not only are there fun memes and puppy videos to grace our feeds every morning, there is the entire dark web, too.
I don’t know much about the latter — I am a theater major who vehemently resents social media, instant messaging and ad-polluted shopping sites. Veering off the beaten path has never been on my radar, but playwright Javaad Alipoor is an encyclopedia of knowledge on how the internet is undermining democracy and instantaneously reshaping the world.
The central storyline in Alipoor’s new play, “The Believers Are But Brothers,” follows two Muslim men residing in different parts of England and their experience of getting recruited by ISIS. I’ve found that trying to explain the complexities of their recruitment gives away the show and is far better depicted by Alipoor, so my best bet is just to implore you to go see it at the Arthur Miller Theater.
The show dumped a ton of information related to the world of the dark web on the viewer without slowing down to hold anyone’s hand, so it’s no surprise that “The Believers are but Brothers” was rewarded with the largest retention of people for any Q&A I have seen at my four years at the University.
While I sat in the theater, I could not shake the feeling that what Alipoor was doing was dangerous. He spoke so much truth about ISIS’ successful recruitment of young
Muslims in the Western world while simultaneously depicting a young, white supremacist who never leaves his computer screen. In doing so, he allowed the audience to realize how much damage comes from each side. Spoiler: both do an astounding amount of rallying for their respective causes online.
Therefore, as Alipoor dished out fact after fact in a state that swung red in the last election, I was frightened that maybe someone who did not agree with him could be inspired to protest or even incite violence.
Maybe that’s part of the show. If we are constantly attached to these devices and mediums of communication that have the potential to ensue such violence and hate, what is the difference? According to this show, the alt-right is far more advanced in digital manipulation that prompts the banding together of white supremacy groups,online hate speech and controlling elections. The left is far behind in the advancement of that sort of asset, if you can call it that. During the Q&A, American culture professor Lisa Nakamura said she believes the left underestimates the value of spectacle online that the alt-right has come to master.
I don’t think we are supposed to be overstimulated this much. There is a part in the show near the end where Alipoor is playing Call of Duty while the whole rest of the stage is lit up in all sorts of media for a couple of minutes. I couldn’t help thinking about how monstrous it all is.
Scenes jumped between direct address to the audience, Skype, Youtube and even WhatsApp. In each medium, the audience acted as an avid participant. At the beginning, Alipoor shared memes with us that any person under 30 would recognize like Pepe the Frog or Doge. By the conclusion of the play, however, these memes were boiled down to the basic ideologies that fuel the world’s most violent groups, like white supremacists and ISIS.
Memes to terrorism is a big jump, I know. I still have a plethora of questions that I want answered, but just like going down the internet rabbit hole, finding answers leads to more questions. Alipoor’s play feels a bit like going down the internet rabbit hole. At times, this made it hard to follow what train of thought he was going down.
The panel afterwards was led by Alipoor, Nakamura (known for her gender videogame class) and Alexandra Stern (author of “Proud Boys and the White Ethnostate: How the Alt-Right is warping the American Imagination”) and School of Information professor Clifford Lampe. All four had fascinating insights into how the internet is shaping humanity.
When asked if we are just looking too closely at the internet by blaming it for the evils of the world, the panel acknowledged the sentiment, but Alipoor restated that there are worlds being destroyed because of the technology.
“There is a way that we as humans, for better or for worse, are able to communicate that we haven’t even begun to scratch the surface of yet,”Alipoor said.
It’s exciting and frightening to think of what happens past the internet. We have the history of mankind at our fingertips, the ability to overthrow governments or create blackweb armies that can be just a few clicks away, so what happens next?
Now, if you’ll excuse me, I’m going to go scroll through Facebook to shake off all this internet anxiety.
The post #deepweb | <p> UMS presents ‘The Believers are but Brothers’ <p> appeared first on National Cyber Security.
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Source: National Cyber Security – Produced By Gregory Evans In episode 95 of our monthly show we’re joined by special guest Rebecca Herold, the “Privacy Professor”. Rebecca is a well known expert in the privacy and cybersecurity community and gives us an update on what she’s been working on, what her thoughts are on the […] View full post on AmIHackerProof.com
#deepweb | Unreleased Outtake From Frank Zappa’s “The Hot Rats Sessions” Available Now; Six-Disc Collection Out 12/20
With the release of The Hot Rats Sessions – the 50th anniversary boxed set of Frank Zappa’s landmark first solo album, Hot Rats – just around the corner next Friday, December 20, the Zappa Trust is pleased to share the previously unreleased outtake, “Dame Margret’s Son To Be A Bride (1969 Quick Mix).” Recorded at T.T.G. Studios in Hollywood during the sessions for Hot Rats, the instrumental composition written by Zappa features the basic rhythm tracks, performed by Max Bennett on bass and Paul Humphrey on drums, that were eventually used for the song, “Lemme Take You To The Beach,” on 1978’s Studio Tan. Unheard until now, the song from disc 6 of the six-disc collection, also features multi-instrumentalist Ian Underwood’s tack piano performance that has since been lost, allowing the only opportunity to hear the original version. The quick mix was run off by Zappa following the basic track sessions so he could hear back what the musicians created. “Dame Margret’s Son To Be A Bride (1969 Quick Mix)” is available now to stream and as an instant grat download with preorder. Stream/purchase here: https://UMe.lnk.to/HotRats50thPR
The Zappa Trust is also excited to reveal more details and a first look at the one-of-a-kind “Zappa Land” board game included in The Hot Rats Sessions. Inspired by vintage board games, players are tasked with helping Frank get back to the studio to finish Hot Rats. Starting at home in Laurel Canyon, players will move their guitar pick playing piece through a windy and unpredictable path to the recording studio. Just make sure you don’t get attacked by hot rats or end up with a watery cup of coffee.
Hot Rats was Zappa’s inimitable, groundbreaking first solo album which put the songwriter and musician on the map as a virtuosic guitarist and changed the course of music forever with its conceptual, compositional and technological innovations. Self-described as a “movie for your ears,” the mostly instrumental 1969 album was a new musical avenue for Zappa following the dissolution of his band The Mothers Of Invention as he melded the sophistication of jazz with the attitude of rock and roll to create a highly influential masterpiece widely hailed today as a pioneering album of jazz-rock fusion.
Releasing on December 20, just one day before what would have been Zappa’s 79th birthday, Zappa Records and UMe is celebrating Hot Rats and the legendary composer’s highly prolific 1969 period with the mammoth six-disc boxed set, The Hot Rats Sessions. This expansive new collection documents and compiles every composition recorded during several days in July 1969 when Zappa recorded Hot Rats and a wealth of other material that ended up being used throughout multiple releases during his lifetime. Filled with an abundance of rare and unedited mixes, work mixes, relevant Vault nuggets and complete basic tracks mixed from the original multi-track master tapes by Craig Parker Adams and mastered by Bob Ludwig in 2019, the collection provides a fascinating look into the making of this classic album, and includes essentially every musical entity that was recorded during these iconic sessions.
Overseen by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister, Joe Travers, The Hot Rats Sessions will be available in a 6CD boxed set and digitally, including Apple Digital Master. This creatively fertile time in Zappa’s career is visually brought to life through a beautiful 28-page booklet featuring striking never-before-seen images of the recording sessions by Bill Gubbins, photographs of the master tapes and tape boxes, and stunning outtakes from original Hot Rats cover photographer, Andee Nathanson’s shoot with Miss Christine. Nathanson provides the collection’s new cover image and several unreleased photos, all from the same photoshoot, captured on Infrared film which gave the original album its otherworldly look. The photographer vividly details the shoot in the liner notes which also includes essays by Zappa collaborator Ian Underwood and Vaultmeister Travers and an appreciation from “The Simpsons” creator and lifelong Zappa fan Matt Groening, who recounts his first time listening to Hot Rats as a teenager: “From the opening moments of that unforgettable drum fill, I was transported. The kaleidoscopic, calliopean, dare-I-say-callipygian, mini-masterpiece ‘Peaches En Regalia’ elevated my scrawny body into the air, spun me around like a propeller beanie, and melted my brain.”
The original Hot Rats album will be pressed on limited edition translucent hot pink 180-gram vinyl featuring the 1969 mix mastered from the original analog master tapes by Bernie Grundman in 2008 and pressed at Pallas in Germany. Last month for Record Store Day’s Black Friday, a limited edition 10” picture disc Peaches En Regalia was released. The EP has rare mono mixes on Side A of “Peaches En Regalia” and “Little Umbrellas,” intended in 1969 as a promotional single, and the 1969 unreleased rhythm track mixes from the forthcoming boxed set on the flipside.
Hot Rats was composed, arranged, and produced by Zappa who played guitar on all tracks and delivered extraordinary solos throughout. One of the best-selling albums of his career, the six-song record is made up of five instrumentals, including one of his most beloved works, “Peaches En Regalia.” Frequent Zappa collaborator Don Van Vliet aka Captain Beefheart provides his unmistakable vocals to lone non-instrumental, the skronky blues-rock number, “Willie The Pimp.” Star musicians on these sessions include multi-instrumentalist Ian Underwood, violinists Don “Sugarcane” Harris and Jean Luc Ponty, bassist Max Bennett, drummers Jon Guerin (Max and Jon played together in the famed fusion outfit L.A. Express), Paul Humphrey and Ron Selico, R&B pioneer Johnny Otis and his 15-year-old son, Shuggie Otis who lays down some astounding, ahead of his time bass lines on “Peaches En Regalia” and several other tracks.
The Hot Rats Sessions offers a riveting and revealing fly-on-the-wall experience by showcasing the genesis and evolution of the Hot Rats songs as well as tracks that would be featured on Zappa’s acclaimed albums, Burnt Weeny Sandwich, Weasels Ripped My Flesh, Studio Tan and Chunga’s Revenge. Hot Rats was the first record to be recorded on a prototype 16-track tape machine and this new technology, along with Zappa’s overdub techniques, further inspired him to create and innovate. The first three and a half discs of the set are dedicated to the basic track recording sessions recorded at T.T.G. Studios in Hollywood, California on July 18, 28, 29 and 30th, and allows listeners the opportunity to experience what it would be like to be in the studio as Zappa perfected these compositions. His intense work ethic is on full display and a newfound respect is gained for the choices he made when creating the final masterwork.
The fifth and sixth discs of the set presents the original Hot Rats album with Zappa’s 1987 digital re-mix along with an assortment of extras such as vintage promotional audio ads for the album, the mono singles of “Peaches En Regalia” and “Little Umbrellas” and rare mixes of more than a dozen tracks. The Hot Rats Sessions is rife with unreleased session material and also includes the first-ever official release of “Bognor Regis,” and several unedited masters of songs like “Peaches En Regalia,” “Twenty Small Cigars,” “Toads Of The Short Forest,” “Lil’ Clanton Shuffle” and “Directly From My Heart To You.”
The Hot Rats Sessions provides an awe-inspiring snapshot of an especially productive time for Zappa, who in the year 1969 alone, outside of his own projects, produced Captain Beefheart’s outsider classic, Trout Mask Replica and the one and only album for The GTO’s, toured and had his second child. With this new, exciting deep dive, fans can explore one of Zappa’s most revered records like never before and experience how it coalesced to become one of the greatest albums of all time.
THE HOT RATS SESSIONS
Piano Music (Section 1)
Piano Music (Section 3)
Peaches En Regalia (Prototype)
Peaches En Regalia (Section 1, In Session)
Peaches En Regalia (Section 1, Master Take)
Peaches Jam – Part 1
Peaches Jam – Part 2
Peaches En Regalia (Section 3, In Session)
Peaches En Regalia (Section 3, Master Take)
Arabesque (In Session)
Arabesque (Master Take)
Dame Margret’s Son To Be A Bride (In Session)
It Must Be A Camel (Part 1, In Session)
It Must Be a Camel (Part 1, Master Take)
It Must Be a Camel (Intercut, In Session)
It Must Be a Camel (Intercut, Master Take)
Natasha (In Session)
Natasha (Master Take)
Bognor Regis (Unedited Master)
Willie The Pimp (In Session)
Willie The Pimp (Unedited Master Take)
Willie The Pimp (Guitar OD 1)
Willie The Pimp (Guitar OD 2)
Transition (Section 1, In Session)
Transition (Section 1, Master Take)
Transition (Section 2, Intercut, In Session)
Transition (Section 2, Intercut, Master Take)
Transition (Section 3, Intercut, In Session)
Transition (Section 3, Intercut, Master Take)
Lil’ Clanton Shuffle (Unedited Master)
Directly From My Heart To You (Unedited Master)
Another Waltz (Unedited Master)
Dame Margret’s Son To Be A Bride (Remake)
Son Of Mr. Green Genes (Take 1)
Son Of Mr. Green Genes (Master Take)
Big Legs (Unedited Master Take)
It Must Be a Camel (Percussion Tracks)
Arabesque (Guitar OD Mix)
Transition (Full Version)
Piano Music (Section 3, OD Version)
Peaches En Regalia (1987 Digital Re-Mix)
Willie The Pimp (1987 Digital Re-Mix)
Son Of Mr. Green Genes (1987 Digital Re-Mix)
Little Umbrellas (1987 Digital Re-Mix)
The Gumbo Variations (1987 Digital Re-Mix)
It Must Be A Camel (1987 Digital Re-Mix)
The Origin Of Hot Rats
Hot Rats Vintage Promotion Ad #1
Peaches En Regalia (1969 Mono Single Master)
Hot Rats Vintage Promotion Ad #2
Little Umbrellas (1969 Mono Single Master)
Lil’ Clanton Shuffle (1972 Whitney Studios Mix)
Little Umbrellas (Cucamonga Version)
Little Umbrellas (1969 Mix Outtake)
It Must Be A Camel (1969 Mix Outtake)
Son Of Mr. Green Genes (1969 Mix Outtake)
More Of The Story Of Willie The Pimp
Willie The Pimp (Vocal Tracks)
Willie The Pimp (1969 Quick Mix)
Dame Margret’s Son To Be A Bride (1969 Quick Mix)
Hot Rats Vintage Promotion Ad #3
Bognor Regis (1970 Record Plant Mix)
Peaches En Regalia (1969 Rhythm Track Mix)
Son Of Mr. Green Genes (1969 Rhythm Track Mix)
Little Umbrellas (1969 Rhythm Track Mix)
Arabesque (Guitar Tracks)
Hot Rats Vintage Promotion Ad #4
HOT RATS (TRANSLUCENT HOT PINK VINYL) TRACKLISTING
1. Peaches En Regalia
2. Willie The Pimp
3. Son Of Mr. Green Genes
1. Little Umbrellas
2. The Gumbo Variations
3. It Must Be A Camel
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CANNES — Produced by Chile’s Fabula, headed by Pablo and Juan de Dios Larraín, and Fremantle, and showrun by Lucía Puenzo (“The German Doctor”), “La Jauria” (The Pack) cuts excruciatingly to the chase.
In its very first scene, a teen girl student sits down, back to the wall, before her male drama teacher who is video-taping the class . “Pretend I’m your boyfriend,” he enthuses off camera. “Pronounce an ‘A,’” he goes on. She doesn’t know how to react but does. until, coached by her teacher, she seems to be groaning in orgasm. When the girl leaves the class, she goes straight to the washroom, sits down and bursts into tears.
The teacher’s gross abuse sparks a student takeover of the elite school in Santiago de Chile. When its leader, 17-year-old Blanca Ibarra, goes missing, a gender-based crime specialist police unit formed by Elisa Murillo (Daniela Vega, “A Fantastic Woman”) and Olivia Fernandez (Antonia Zegers, “The Club”) is brought in to find her before its too late, which it may well be already.
Prefaced by cool feminist Chilean rap, this full-on but informative psychological thriller delivers a knowing depiction of Chile’s youth. “The Pack” also builds into a near overwhelming vision, at least in Ep.,1, screened at the Zurich Festival, of toxic masculinity. This permeates every level of Chilean society, from abuse and bullying at schools, to parents the police and social media. “The Pack” is, understandably, one of Fremantle’s big swings at this year’s Mipcom, which kicks off today in Cannes. Variety talked with showrunner Lucía Puenzo about one of the most anticipated of premium Latin American series.
The opening scene, of a teen girl student subjected to gross psychological and physical abuse by her drama teacher, is immensely discomforting. It’s also as if you want to lay it down the line: Show exactly what the special unit is fighting.
In recent years, much of the fight being championed by women, and very young girls especially, has had to do with exactly where the notion of abuse begins. Before, one often had to deal with situations in which there was no actual physical contact, which were not considered abuse. One of the issues we wished to broach and highlight as a problem, and focus upon as a dilemma in the series, is that this is precisely what these young girls are up against. In this case, we were particularly taken by the dramatic strength and remarkable acting power of both actors in that first scene. It was such that simply showing the way an adult might look at an underage child, a look charged with sexual intent, in a class where that adult is the teacher, was enough for it to be viewed as abuse, when it is thus perceived by that child. That’s why we chose to begin with that scene.
Coming back to that scene, which is very well acted by both actors, also suggest that one problem for the victim is that she doesn’t know how to react. She’s a deer caught in the headlights if car. What the series may lay down we suspect, even in the first few moments is the importance of education: a) How to react to abuse; b) Psychological counseling in the case of denouncing abuse, which is already suggested by Olivia when she takes teacher Ossandón through the psychological impact of abuse.
One of the things we consciously strove to do in the series from the moment we started the writing, and throughout development, shooting and editing, was to steer clear of stereotypes and simply present characters in all their complexity, because abusers – those in positions of power vis-à-vis underage girls – often are great psychopaths, in all their atrocious splendor. The young girls are bowled over by them; they’ve got them eating out of their hands, magnetically hooked to them. In this case, that’s what happens with a teacher whose young girl students are hopelessly seduced by him, and that’s why it’s so difficult for them to know how to deal with things when that line starts being crossed.
But, with regard to stereotypes, we didn’t want to err on the other side either when it came to the construction of the male characters. As we’re beginning to see, there is a growing tendency towards falling into stereotypes as far as male characters go as well. So we worked very seriously with the La Jauría group. One of them, Benjamin, grapples with a terrible dilemma with regard to what he did, and with the task of building that character as a kind of looking glass, tackling all the enormous complexities of a boy who is driven to commit a criminal act. Ditto the character of the teacher, Ossandón. We worked very diligently with the actor who plays him: on how he gradually comes to see what he did, becoming aware of his abuse, of having done something criminal, reprehensible.
The credit crawl is impactful. What did you aim for with the use of black and white animatics-look animation and the hip-hop soundtrack? And who’s singing? Is that Ana Tijoux?
Yes, it is Anita Tijoux, who also plays a part in the series. She’s a feminist hacker, who operates in the shadows, working with young girls and helping them. There was never any doubt in our minds, once we decided to call the series “La Jauría,” that we were not only talking about “the male pack” as it were, or the most sinister aspect of that online game where young boys are transformed into violent creatures that attack women of different ages. We were also talking about the female horde, groups of young girls, the policewomen hounds, packs of different groups of women who get together to defend each other and defend their daughters and baby creatures the way lionesses defend their cubs. In a way, that fight, as the character played by Ana Tjoux says at one point, is not a fight between wolves and lambs; it’s between lions against lionesses, wolves and lionesses, all defending themselves and their own with the same ferocity. In a way, this addresses the issues of the empowerment of women, which is what’s been happening over the last few years – the ever-growing power positioning of women as a collective, increasingly willing and able to wage battle as a collective.
From that approach, we gave a great deal of thought to the credit sequence, which I think is fundamental in series and films. We always wanted to embrace that graffiti technique, which is so important in the series because it’s the technique used by the young girls to leave traces of Blanca, the girl who disappeared, who they go out to look for. In a way, we wanted that animated technique to underline what the series was talking about, on the surface and at a much deeper level.
Immediately, you broaden out the theme of sexual abuse to students bullying Olivia’s son, and another instance of toxic masculinity. Could you comment on this parallel plot, its dramatic and thematic use?
When we started work with the group of writers and began to delve into how those online games function, and started studying them, we also roped in a group of advisors who were real hackers, specialists in the Web and Deep Web. We began to look into whether they reach misogynistic men predisposed towards going out and attacking women, as well as their impact on very young boys, who were more innocent, and who, due to some lingering scar, some weakness, are fragile and easily drawn into indulging in those dangerous games. We wanted the different storylines of the series to gradually build the different strands of the extreme danger in this game. In some cases, some of them weren’t criminals at the outset. That’s why we included Olivia’s teen son: to show that insofar as the group of policewomen go out to attack and hunt down those behind that game, the game also turns against them and attacks them.
They can’t simply quit and run away, since they now have the monster in their own homes, which is the most dangerous thing that’s happened in recent years, because of the way danger has crept into ordinary households. Young boys are now so fragile and literally a click away from something very sinister.
“We’re suffering forms of psychological abuse which didn’t even exist a few years ago.” “La Jauría” is in fact ultra-contemporary in its portraits of school shut-down protests, teen sex at parties, Internet social organization and exposure, and hacking. Again, could you comment?
During the process of writing “La Jauría,” there was a kind of constant dialogue with reality and with events that were taking place. That only shows just how poignantly the series taps into events teenagers and families are grappling with today, things to which we are all vulnerable. That’s why the character of Petersen is so important in the series: He’s a criminologist, a who, 20 years ago, at the advent and swift take-off of Internet, was in a way already forecasting the dangers of viralization, the way things could go uncontrollably viral. That’s precisely what happens in the series and what’s happening in society today. The wild-horde phenomenon is upon us. It’s there in online games like “The Blue Whale Challenge”, which has wrought such havoc in Russia and across the entire world, and other games that are still being invented today, which are basically targeting the Achilles heel of the Internet, given its massive reach and spread, and which, with its millions and millions of users, has reached the heart of virtually every household.
The post #deepweb | <p> Lucia Puenzo Talks Fabula-Fremantle’s ‘The Pack’ – ‘La Jauria’ – Variety <p> appeared first on National Cyber Security.
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Officials from Serbia recently detained a Belgrade resident who’s doubted as belonging to a hacking group named DarkOverlord or The Dark Overlord.
The resident, a man aged 38, uses the initials “S.S” for his name and is a Belgrade citizen.
Except for these, nothing about his identity is known.
The Federal Bureau of Investigation has kept silent giving no remarks about the arrest. However, Serbian officials state they executed the detention when they were conducting an operation for exposing the people using the moniker “The Dark Overlord” online.
Running active from 2016, DarkOverlord has gained notoriety for hacking schools and medical providers to seize their personal files followed with blackmailing the institutions into paying money if they don’t want their information to be sold on the underground world. Earlier, the hackers had apparently seized addresses, phone numbers and Social Security Numbers belonging to innumerable medical patients that could’ve been utilized for committing ID-theft. In.pcmag.com posted this, May 17, 2018.
Beginning from June 2016, The Dark Overlord infiltrated the systems of 50-or-so victims, stealing a variety of data such as intellectual property and crucial health information followed with demanding ransoms in exchange of leaving the filched data safe.
The hackers’ syndicate is well-known with regards to executing one cyber-crime series spanning 2-yrs and comprising extortion along with hacking followed with revealing episodes contained in a Netflix sequence namely “Orange-is-the-New-Black” and also breaking into U.S. school computers as well as threatening the country’s students with murder.
At times the crooks weren’t satisfied with hacking they’d start physical violence threat against the hacked entities. During 2017, an infamous campaign carried out in USA included breach of systems of high schools and then theft of personal data to be followed with holding those data for ransoms. And in case the schools did not pay up, the gang would find out the contact details of staff and students from the filched data and then threaten them.
It’s not clear whether The Dark Overlord group consists of one person or several individuals. However on Twitter, it frequently uses the words “us” and “we” as reference to the gang while blackmailing hacked victims.
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‘The weakest part of security is us’
This was the message from ethical hacker Mike G.
Speaking at the Irish Independent annual Dublin Information Sec cyber-security event taking place in Dublin today, Mike G, who helps organisations in their fight against cyber security and hacking, said that humans are very easily hacked.
Citing the hacking of US actress Jennifer Lawrence’s Apple iCloud, Mike G said that the hacking was done through the actresses’ password for iCloud being her dog’s name, and the fact that Ms Lawrence had posted a picture of her dog on Instagram – the hacker went from there and leaked photos apparently showing her in the nude on the internet.
In addition, bad systems design and/or insecure security policies can leave people and organisations vulnerable to hacking.
Mike G, who describes himself as a pilot, engineer, and ethical hacker, described the various was in which hackers can gain information about a person or a company, including through social media, certain types of jobs – “sales people often give out everything” – and even job listings.
In a sobering talk, he listed spoofing texts, calls and emails among the ways in which people and companies can get hacked.
In addition he said that anything can get hacked including pins, biometrics, TVs, and even our fitbits.
However when a person’s phone can be taken over, it’s “huge” he said.
In what was a stark message to businesses, Mike G asked those present at the event whether their company would be able to recover if the competition had all of their data?
However, the news from the ethical hacker was not all bad.
Mike G and his team do a lot of forensic planning, providing, among other services, cyber security awareness training, and impact penetrating testing to show companies their weak spots and how these can be overcome.
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#pso #htcs #b4inc
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As part of our Blended Family Friday series, each week we spotlight a different stepfamily to learn how they’ve worked to bring their two families together. Our hope is that by telling their stories, we’ll bring you closer to blended family bliss in your own life! Want to share your family’s story? Email us at firstname.lastname@example.org.
When social media consultant Jennifer Gardella began to get serious with her boyfriend Dave a few years ago, she hoped their two sets of kids would hit it off right away.
At some point during those first few “crazy” years, she realized that blending a family wasn’t going to happen as effortlessly as she’d hoped.
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Source: National Cyber Security – Produced By Gregory Evans Hackers find ways of controlling hardware and software through releasing malicious computer viruses, and likewise governments use ‘soft and hard means’ to quell internal dissident voices of those who choose to speak out against them. This is the hard-line taken by the Iranian regime in light of a zero-day cyber attack, in 2005, which reportedly caused one-fifth of the regime’s nuclear centrifuges to fail at its main enrichment facility. Hitting harder the Iranian regime exploited this event with break-out retaliation that was fast and sudden. In an intelligence report published on the National Council of Resistance of Iran’s (NCRI’s) website (April 2016) it reveals a rhetoric wrapped up in the language of ‘soft’ and ‘hard’ means, and getting to the point translates into increased arbitrary censorship laws and at-will illicit laws to make arrests. Plus a platform for ramping-up levels of cyber espionage and sabotage ‘within Iran’ and to ‘strik[e] at “enemies” abroad’. The main Iranian opposition group People’s Mojahedin Organization of Iran (PMOI or Mujahedin-e Khalq, MEK) gathered this intelligence, of which cited in section 1.2, 2010 is posited as the moment that the Islamic Revolutionary Guard Corps (IRGC) commander […]
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