Natas (Satan spelled backwards) is a computer virus written by James Gentile, a then-18-year-old hacker from San Diego, California who went by the alias of "Little Loc" and later "Priest". The virus was made for a Mexican politician who wanted to win the Mexican elections by affecting all the Mexican Federal Electoral Institute (IFE) computers with a floppy disk.
Natas is a memory-resident stealth virus and is highly polymorphic, that affects master boot records, boot sectors of diskettes, files .COM and also .exe programs.
The virus first appeared in Mexico City in May 1992, spread by a consultant using infected floppy disks. The virus became widespread in Mexico and the southwest United States. The virus also made its way to the other side of the USA, infecting computers at the United States Secret Service knocking their network offline for approximately three days. This led to an investigation of Priest and incorrect suspicion that the virus specifically targeted government computers.
Natas is a fictional character in the DC Universe. He is a martial arts master who first appeared in Green Arrow comics. In keeping with his ultimate betrayal of Green Arrow, his name is "Satan" spelled backwards.
After Oliver Queen, the original Green Arrow, was bleeding nearly to death in the ruins of Star City (victim of a sneak attack by Merlyn the Archer), Ollie, Connor Hawke, and Mia Dearden spent months training from some of the greatest fighters in the DC Universe including Natas.
To that end, Natas spends weeks beating him silly, attacking and trying to kill him, and always fighting dirty (Mia compared it to the scenes in the Pink Panther when Inspector Clouseau is attacked by Cato, except less amusing). Natas puts Ollie through a brutal trial of martial combat. Over the course of many nights, Ollie hones his body to perfection and transforms himself into a living weapon.
Later, Frederick Tuckman tells Ollie about all of the things taking place in Star City. He tells him that a quarter of the city has been turned into a ghetto and that city officials have cordoned off trouble areas by erecting a large wall.
Untitled (Selections From 12) is a 1997 promotional-only EP from German band The Notwist which was released exclusively in the United States. Though the release of the EP was primarily to promote the band's then-current album 12, it contains one track from their 1992 second record Nook as well as the non-album cover of Robert Palmer's "Johnny and Mary". The version of "Torture Day" on this EP features the vocals of Cindy Dall.
Untitled is the first studio album by the British singer/songwriter Marc Almond's band Marc and the Mambas. It was released by Some Bizzare in September 1982.
Untitled was Almond's first album away from Soft Cell and was made concurrently with the latter's The Art of Falling Apart album. Almond collaborated with a number of artists for this album, including Matt Johnson of The The and Anni Hogan. The album was produced by the band, with assistance from Stephen Short (credited as Steeve Short) and Flood.
Jeremy Reed writes in his biography of Almond, The Last Star, that Untitled was "cheap and starkly recorded". He states that Almond received "little support from Phonogram for the Mambas project, the corporate viewing it as non-commercial and a disquieting pointer to the inevitable split that would occur within Soft Cell". An article in Mojo noted that "from the beginning, Almond and Ball had nurtured sideline projects, though only the former's - the 1982 double 12 inch set Untitled - attracted much attention, most of it disapproving." The article mentions that Almond "who preferred to nail a song in one or two takes" stated that it was all "about feel and spontaneity, otherwise it gets too contrived" when accused of singing flat.<ref name"mojo">Paytress, Mark. "We Are The Village Sleaze Preservation Society". Mojo (September 2014): 69. </ref>
Untitled is an outdoor 1977 stainless steel sculpture by American artist Bruce West, installed in Portland, Oregon, in the United States.
Bruce West's Untitled is installed along Southwest 6th Avenue between Washington and Stark streets in Portland's Transit Mall. It was one of eleven works chosen in 1977 to make the corridor "more people oriented and attractive" as part of the Portland Transit Mall Art Project. The stainless steel sculptures is 7 feet (2.1 m) tall. It was funded by TriMet and the United States Department of Transportation, and is administered by the Regional Arts & Culture Council.