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Bitdefender and Kaspersky routinely top the lab score lists, with perfect or near-perfect results from all four labs. SE Labs didn't include Bitdfender in its most recent tests, but its aggregate score from the remaining three is 10 of 10 possible points.
No results from the labs means my hands-on malware protection tests count for more. One test uses malware samples I've gathered and analyzed. I let all aspects of the antivirus do their work, launching any samples that don't get zinged the moment they're seen. Total Defense took 8.6 of 10 possible points, a decent score. Challenged with the same samples, however, Cylance, F-Secure, McAfee, and Symantec Norton Security Premium all managed 9.3.
I test a product's ability to handle the latest attacks using a feed of recently uncovered malware-hosting URLs supplied by MRG-Effitas. Products gets equal credit for preventing all access to the dangerous URL and for wiping out the malware during download. Total Defense's added web protection means it did a lot better in this test than its standalone antivirus, but it still only managed 73 percent protection.
To put that in perspective, Norton and Bitdefender achieved 99 percent protection in this test. McAfee and Trend Micro Maximum Security also did well, with 97 percent protection.
The same web protection component that fends of malicious URLs also serves to protect against phishing sites, fraudulent sites that try to steal your login credentials by mimicking sensitive websites. Total Defense did well in this test, identifying 91 percent of the verified frauds. That's good, but McAfee Total Protection and Kaspersky protected against 100 percent of phishing sites in their most recent tests.
I don't have a lot to say about Family Protection in Total Defense. It filters unwanted content, so your kids won't accidentally (or deliberately) surf to naughty pages. It offers a clunky system for limiting Internet access on a weekly schedule. And you can view reports on each child's activity. Settings are local; this isn't the modern parental control system where you configure profiles online and assign devices. In testing, I found ways that a smart teen could circumvent both content filtering and time scheduling. If you need parental control in your security suite, you're better off looking to Check Point ZoneAlarm Extreme Security or Kaspersky.
Clicking to scan for performance in the basic suite isn't rewarding. If you click to fix problems found by the scan, you just get an error messages, as fixing things is an Ultimate-only feature. The reported results don't give enough detail to let you manually fix found problems, either. I'll go into detail below about the top-tier suite's more effective performance scanning.
As noted, you get 10GB of storage for your cloud backups in Premium, and 25GB in Ultimate. The backup system is straightforward. With very little effort you can set it to back up your important document files on a daily, weekly, or monthly schedule. But that's as far as it goes. There's no option to back up changed files during idle time, it doesn't keep multiple versions of backups, and the cloud is the only available destination. For the non-techie user, it's just fine. For the backup connoisseur, it may seem a bit thin.
As with every suite, I ran some simple tests to measure the product's impact on performance. The days of horrific system resource gobbling are over, but different suites still cover a range of different impact levels. Total Defense came in on the high side, with noticeable slowdowns in boot time and ordinary file system operations. I didn't encounter any noticeable slowdown during testing, but adaware, Bitdefender, and Webroot SecureAnywhere Internet Security Complete caused no performance hit in any of my tests.
In Total Defense Ultimate, the Performance scan actually tunes up your PC, but it does so in a rather odd way. When you first launch it, it goes through the same scan as in the Premium edition. You can click to see a report of what it found. More importantly, you can click the Tune-Up button to take care of performance issues.
Here's where the oddness comes in. Clicking Tune-Up runs the scan all over again, and adds a cleaning step, but the results aren't the same as reported earlier. On my test system, it initially reported 49 Registry issues and one Startup issue, with an option to drill down for slightly more details. After the cleanup scan, it reported that it fixed 684 junk files, one drive fragmentation issue, 52 Registry issues, and one startup issue. This edition of the report doesn't offer any detail beyond the number of items in each category.
The initial scan took five minutes, and the repeated scan with cleanup took more like seven. If you don't want to spend double time taking care of performance, you can dig into this component's settings, move the slider from Recommended to Custom, and open Custom Settings. Removing the check next to Scan Before Cleaning eliminates the initial non-action scan. Here, too, you can view (and optionally change) the plenitude of areas checked by the Performance scan.
Microsoft releases patches to improve Windows and other products every month, and many of these relate to security. Other vendors do the same, because malware coders are constantly turning up new security vulnerabilities. If you fail to install those security patches, you're leaving the door wide open to exploit attacks. Like Avast, AVG Internet Security - Unlimited, and numerous others, Total Defense Ultimate includes a scanner that identifies missing security patches.
On my test system, the scan ran quickly, taking less than a minute. It found a missing patch for the archiving utility 7-Zip, but that's all. I find that a little odd, as Chrome and Firefox often get out of date on my virtual machines. When I checked, Chrome reported itself up to date. However, Firefox needed an update. I am left unsure about the Vulnerability Scan. Note, too, that like the Performance scan, this one runs in two stages unless you uncheck the Scan before Cleaning option.
There's no way to tell just what apps Total Defense checks, alas. I much prefer the style of the Software Updater in Avast Premier , which lists both out-of-date and up-to-date applications.
As noted, you can use your Total Defense licenses to install protection on Windows, macOS, or Android devices. However, the protection you get varies wildly from platform to platform. As it turns out, Total Defense Antivirus for Mac is precisely a rebranded edition of Bitdefender Antivirus for Mac, an Editors' Choice for Mac antivirus.
If you run a Mac-heavy household, this is a big plus, both protection-wise and financially. Bitdefender for Mac runs $59.99 per year for three licenses, while Total Defense gives you 10 equivalent licenses for $99.99. With a little rounding, Total Defense costs half as much.
Bitdefender gets top scores from the independent testing labs that include Mac products. It took a perfect 18 points from AV-Test Institute and exhibited 100 percent detection in tests by AV-Comparatives. However, as the labs state clearly, these results apply only to the tested product. We can assume Total Defense would do just as well, but that's an assumption not backed by the labs.
I did put the Total Defense product through my Mac antivirus testing regimen, which isn't as rigorous as what I can manage under Windows. Its quick and full scans finished in just about the same time as Bitdefender's, and it detected the same percentage of Windows-centric malware. As with Bitdefender, its Safe Files component protects your documents (and your Time Machine backups) from modification by ransomware, and by any unauthorized programs.
The Total Defense TrafficLight extension marks up safe and dangerous links in search results (though, as with Bitdefender, it doesn't currently work with the combination of Safari and Google). Also, while TrafficLight is nominally available for Safari, Firefox, and Chrome, I could not install it in Chrome, which reported "Apps, extensions, and user scripts cannot be added from this website." I had no similar problem with the Bitdefender equivalent.
TrafficLight also blocks access to dangerous websites, including phishing sites. My antiphishing test works equally well on Windows or Mac, so I put Total Defense to the test using the very latest phishing URLs.
Total Defense detected 77 percent of the verified phishing frauds, not as good as Bitdefender's 88 percent. But then, every test uses the newest frauds, and the fraudsters are always getting better. It's also worth noting that Bitdefender's protection varies by platform. In its own latest test, Bitdefender Internet Security managed an impressive 99 percent protection.
For a more detailed look at the features found in Total Defense Antivirus for Mac, refer to my review of the equivalent Bitdefender Antivirus for Mac. Yes, the labs won't swear they'd get the same results, not without actual testing. But the available features are the same in this impressive Mac antivirus tool.
While it's not integrated like the Windows version, backup and recovery exists for macOS as well. When you send a link to install protection on a Mac, Total Defense offers both downloads.
I fired up the Online Backup and Recovery Manager and found that, while it doesn't look much like the Online Backup component in Windows, it works in much the same way. I did find it amusing that the Safe Files ransomware protection component blocked backup of my Documents folder until I marked the backup app as trusted.
As on Windows, you manage a single backup job that archives your selected folders to cloud backup. On Windows you can schedule the backup to run daily, weekly, or monthly. The Mac version adds the ability to run backup every hour, or at a set interval measured in hours or minutes. After your initial configuration, you'll want to click Backup Now for an immediate backup.
Also as on Windows, the Restore page lists the devices from which you've backed up files. Selecting files or folders is a matter of navigating the folder tree, which, in my opinion, is a lot easier under Windows. Choose your recovery location and go; it's that simple. If you chose to recover files to their original location, the backup tool asks whether to replace this file, or all files. It's not a complex tool, but having backup of any kind in a Mac security product is uncommon.
As with the Mac antivirus, Total Defense Mobile Security for Android is a licensed edition of its Bitdefender equivalent, which I've described in my review of Bitdefender Total Security. This app includes the expected scan for malware, which runs very quickly. It also scans new apps as you install them. Its antitheft features include the ability to remotely locate, lock, or wipe the device, and to make it sound an alarm (handy for finding it around the house). You can activate these features from the online console, or by sending coded SMS messages from a phone number you previously defined as trusted.
The Account Privacy feature checks any email addresses you enter against lists from known breaches. It also checks as new breach data comes in. Digging into the settings, I gathered that by default it also notifies you when your data is not found in a new breach.
If someone picks up your Android device before it locks, you could have trouble. App Lock lets you apply additional security to any apps you wish, so a snoop can't view your messages or change your settings. You can soften the impact of App Lock by permitting a brief exit and return without unlocking again, or by suspending the lock process when your device is on a trusted Wi-Fi network.
A persistent snoop might try to guess the App Lock PIN, figuring, why not? But you can set Total Defense to snap a photo of the offender after three failed attempts. This feature can also photograph a device thief who makes three failed unlock attempts.
Once you enable it, Total Defense's web security steers you away from malicious and fraudulent web pages, displaying the warning "Page is Unsafe." It can protect Chrome, Dolphin, Firefox, and Opera.
Compared to Bitdefender's Windows suite, which boasts a cornucopia of features, the Android app, while perfectly useful, looks a little underpowered. Total Defense doesn't offer anything like Bitdefender's wealth of bonus features, which means that, oddly, the equivalent Android app looks better by comparison.
Total Defense Ultimate Internet Security is a bit of a conundrum. Windows tends to dominate in most cross-platform suites, with features and technology way beyond the other platforms. Android typically comes next, with a full suite of protective features. The macOS edition often gets short shrift, perhaps just an antivirus where Windows users got a suite. But with Total Defense, Windows users get a suite that's decent, but not great, while those using macOS get the equivalent of Bitdefender Antivirus for Mac, an Editor's Choice. Android users also get a full-powered Bitdefender equivalent. You get the best value from this suite if Windows isn't your main operating system.
Consider, however, that for half again Total Defense's price, Kaspersky Security Cloud protects twice as many devices, even iOS devices, and it has a wealth of bonus features, among them a VPN and a password manager. Symantec Norton Security Premium costs just $10 more than Total Defense for the same 10 licenses and 25GB of online backup, but it goes way beyond in the number and quality of its security features. These two are our Editors Choice products for cross-device multi-platform security suite.
Bottom Line: Total Defense Ultimate Internet Security offers excellent protection for macOS and Android devices, both licensed from Bitdefender, along with less impressive protection for Windows.
Sarah Bond, a University of Iowa professor of classics, received on online backlash over her article about how ancient Greeks and Romans painted their marble statues rather than left them white and bare.
To her colleagues at the University of Iowa, Sarah Bond sets the bar for how a professor can and should break through academic walls to find a broader audience for her scholarship.
Bond, an assistant professor of classics, blogs frequently and posts a regular column on Forbes.com to highlight the latest findings and questions about how the classical world of ancient Greece and Rome continue to matter two millennia later.
Her contributor tag line for Forbes is: "historian, digital humanist and baseball fan."
Since June 7, however, Bond has discovered that the greater visibility for her scholarship also comes with the risk of greater antagonism.
For the past few months, Bond has been offering the occasional post on how ancient sculptors didn't just leave their marble statues white and bare; the sculptures were painted to match the variety of skin types and clothing styles throughout the Mediterranean region.
Bond's shorter posts received their share of criticism and praise online. But when she posted a longer essay on the topic — titled, "Why We Need to Start Seeing the Classical World in Color" — she began attracting the attention of conservative critics at Campus Reform, National Review and The Blaze.
The broader attention nationally brought out the internet trolls, and over the past week Bond has been receiving threats of violence via Twitter, email and Hyperallergic.com, which had published the essay.
As with her earlier posts on Forbes and on her personal blog, Bond's main point in the essay was to remind readers that ancient Greek and Romans did not view themselves as "white," in the contemporary sense, and they covered the marble of statuary with a variety of colors — often gold, red, green, black, white, and brown.
As the pigments deteriorated over the centuries, however, art historians began developing the idea that the white marble statues of ancient peoples represent an ideal beauty.
That cultural misunderstanding of the past, she argues, contributes to the iconography used by present-day white supremacists.
"It provides further ammunition for white supremacists today, including groups like Identity Europa, who use classical statuary as a symbol of white male superiority," she wrote. "It also continues to buttress the false construction of Western civilization as white by politicians like Steve King."
To her UI colleagues, the essay is an example of Bond at her best: engaging a broader audience and providing well-reasoned arguments for how a better understanding of the past can help explain the present moments.
"We especially admire her commitment to being a public intellectual as well as a scholar, despite the risks of reaching out to diverse audiences," said Teresa Mangum, the director of UI Obermann Center of Advanced Studies.
To her online critics, however, Bond's argument reduces to a direct and overly reductive equation of white marble with white supremacy.
“They viewed the piece as ‘liberal professor says that all white statues are racist,’” And that is clearly not what the piece is about," Bond told the online publication artforum.com.
Bond, who declined to be interviewed by the Des Moines Register for this story, says that she hopes a more polychromatic view of the classical world help encourage — among other things — a more diverse group of scholars to study the period.
"How can we address the problem of the lily white antiquity that persists in the public imagination? What can classicists learn from the debate over whiteness and ancient sculpture?" Bond asks in the essay.
Bond confirmed that Hyperallergic fielded most of the messages advocating violence, but she eventually had to contact her department chair and the dean of the UI College of Liberal Arts and Sciences about the threats against her.
"I don’t believe that a lot of the people that wrote to me are white supremacists, I believe a lot of them never read the original article, the primary source, and that is really what I want them to do," Bond told artforum.com.
In her three years at Iowa, Bond has been working on other large-scale research projects with UI’s Digital Scholarship and Publishing Studio, but none have received same backlash as the recent article.
Keegan said there always is a risk with such public-facing scholarship that it will be “picked up by someone outside who just wants to generate negative clicks.” But one of the goals for the digital humanities is to engage with new audiences.
Bond's supporters include her department colleagues and college administrators.
"Dr. Bond's work is thoroughly researched and well presented, and we are pleased that she is making important contributions to her discipline," said Nic Arp, a spokesman for the UI College of Liberal Arts and Sciences.
Robert Cargill, a UI professor with a joint appointment in classics and religion, praised Bond's determination and her willingness to enter the fray.
"One of the reasons many faculty members avoid the popular media and the press is that they are uncomfortable with unfounded criticism by those who do not understand the research being done," Cargill said. "But for some of us who understand the power and the importance of communicating to the public our research as scholars, we understand that public criticism is par for the course. This is part of the civil public exchange."
Congress chief Rahul Gandhi attacked Prime Minister Narendra Modi on Wednesday over the government's rejection of the armed forces' demand for higher Military Service Pay for over 1.12 lakh personnel, alleging that he was only concerned about the likes of Anil Ambani.
"Modi ji, those who did surgical strike for the country, is this your behaviour towards them," Gandhi asked in a Facebook post in Hindi.
"You are neither concerned about farmers, nor soldiers, you are only concerned about Anil Ambani-like 'suit-boot' people," he said.
Gandhi has often accused the prime minister of helping the industrialist, a charge that has been strongly rebutted.
The country gave you a chance, but you betrayed the country, Gandhi added in social media post.
His remarks came a day after the government rejected the long-standing demand of the armed forces.
The military sources said the Army headquarters was "very anguished" over the decision by the Finance Ministry, and will seek its immediate review.
Around 1.12 lakh military personnel, including 87,646 Junior Commissioned Officers and 25,434 personnel of equivalent rank from the Navy and the Indian Air Force, will be affected by the decision.
The MSP for the military personnel was introduced recognising their unique service conditions and hardships.
Café Tacvba recall the "beautiful" early days of the rock en español movement and discuss how they've managed to keep evolving for more than 25 years.
Just as the U.S. has the Red Hot Chili Peppers and the U.K. has Radiohead, Mexico has Café Tacvba, a band that boldly reinvents itself with every album. For more than a quarter-century, the mercurial quartet – composed of Rubén Albarrán, Joselo Rangel, Quique Rangel and Emmanuel del Real – has continually defined the cutting edge of Latin alternative music.
The band’s landmark second LP, 1994’s Re, marked rock en español‘s final chapter and ushered in a new kind of Latin alternative. The eclectic opus found the band’s four prolific composers frolicking through tender pop baladas, frothing up son jarocho rhythms, rumbling via boisterous corridos and tearing into punk with exhilarating urgency. Disparate releases followed – a covers album, a tribute release, a two-disc instrumental/pop LP, a proggy experimental outing – all cornerstones for south-of-the-border rock.
The title of the new album, Jei Beibi, pronounced “Hey Baby,” is a sort of Spanglish pun. What inspired that bit of wordplay?
Rubén Albarrán: We took the title from one of our songs’ lyrics [“1-2-3”] from the new album. We wanted to give it our accent and amplify the language. But precisely, we wanted to break the rules that we self-impose and show that we can renovate. That gives us energy, it nourishes us. If we continue doing the same thing, then we’ll get bored and wear out. The title was Joselo’s idea and we thought it was attractive. For me personally, I feel like it’s a wake-up call, as if to get closer to someone and wanting to say something. It’s a good way to start a conversation.
On the music video for “Futuro,” there’s a lot of extreme characters featured, like Trump wearing a mini skirt, a priest, a Santa Muerte, a Native American, among others. What unites these figures together?
Albarrán: Oftentimes, our videos are collective ideas from the group, but others, they’re personal ideas. I wanted to represent this video as humanity in its current state, with some characters who, unfortunately, make decisions for the rest of us. The [flying] bus on which they’re traveling represents life, or the historic moment that we are going through. That’s what I wanted to convey.
That same song has a message that roughly says “destiny is written for all of us.” Is there a certain spirituality or philosophy that influences your creativity?
Joselo Rangel: That song “Futuro” was written by Quique [Rangel], the bassist. I wouldn’t know how to explain the song, but each would have to give their own interpretation. If the lyrics generate that message for you, then that’s good. I suppose Quique could be talking about different things, and many readings are possible. Each one of us is a composer and we come to the group with songs written out, musically and lyrically. Occasionally, there’s a collaboration between us. But each song is almost always written by one of us, and then we all figure out the arrangements. Up until now there hasn’t been a moment where the composer explains the song and says, “I want to say this or that.” It’s always open for interpretation. Personally, the songs that I’ve written, when they arrive to the group, they become something more. Some begin to take spiritual aspects, political aspects, aspects that I had not initially put into the song. I think that’s something magical that happens in our creations.
Rubén, previous albums have seen you introducing alter egos like Cosme, Élfego Buendía, Pinche Juan, among many others. Who will we meet on Jei Beibi?
Albarrán: Well, on this occasion, I have not created any characters nor have I changed my name. The last time I did, the band turned 20, and I said, “I’m going to stop changing my names. I’ll present myself as Rubén Albarrán.” During that time, I was visiting certain communities and one of them baptized me with my [birth] name. So I said, “OK, I’ve received it, now I will use it,” and I have. If another one comes, then it will come, but it hasn’t arrived yet and I’m fine for now.
Joselo, the new album features many new sounds, like Sixties and Seventies classic rock, that the band hasn’t explored previously. As the main guitarist, what were you inspired by this time around?
Rangel: We try different things every time there’s an arrangement opportunity with a new song. But I’m not the only one who plays guitar. Actually, it’s the instrument we all play. Ruben will occasionally play it, and Quique played many guitars this time. As Rubén was saying, exploring distinct paths is a way for us to feel alive, or feel like we’re doing something different. “Que No,” our latest single, has Sixties characteristics which we haven’t done before, and “Matando” also has certain elements we hadn’t come across. For me, it’s difficult to say “it’s this influence” or “it comes from there.” Maybe it’s easy for one to listen externally and identify influences.
But yes, I like listening to classic rock. I know that all band members have different influences and sometimes they show and other times they don’t. Right now, I feel very close to the album, which we recently completed. So with time, I’ll take some distance and see what happens.
Looking back to when Café Tacvba was emerging in the late Eighties during the rock en español wave, what was that experience like, and how did you see yourselves within the movement?
Albarrán: It was something very beautiful because we all had that interest. We were very close to all of the different groups of the time – the ones that we began to play with in the same venues [e.g. Maldita Vecindad, Caifanes, Botellita de Jerez]. Suddenly, each started to have their own tours and we stopped seeing each other. But we all had the same intention: to seek elements from within for our creation. However, we were all very different, and each group had their unique way of expressing themselves; their own original voice. It was a very beautiful era of Mexican music, and the truth is that we are very fortunate to have been part of it.
At the time, there was a collective notion from bands to return to their roots, sonically. Hearing Latin alternative music today, how have you seen the scene evolve as insiders?
Albarrán: I think it fluctuates. … I feel like there are moments where musicians may be more interested – or culture in general – to show roots and where one comes from. And later there comes a time where that has lesser importance for artists, and instead they become more interested in affiliating themselves with global or international trends. Fortunately, we were in the right place at the right time, and that allowed us to experiment, play and enjoy.
Rangel: Perhaps the bands emerging nowadays don’t have the right context around them to help them grow. We were born at the right moment where everything was happening. There was a great interest for rock en español and it was everywhere. The audience, labels and the media were all interested; everything was there. We wanted to present music that was very personal to us, and it continues being that way. We make the music that naturally comes out of us. Since the beginning we’ve done what we wanted and people were interested. The public liked it and we were able to grow without any issues from the industry – well, when that record industry existed. I don’t know how it went for other bands [of the time], but we had that liberty. In that respect, we were able to experiment in many ways, since our first [self-titled] album, and later with Re, our second album of 20 songs. It was followed by an album of pure covers [Avalancha de Éxitos] and an instrumental release that was complemented with a songs release [Revés/Yo Soy]. Without realizing it, we continued with our career, and suddenly 27 years had gone by. The entire panorama changed.
“Ingrata” has been one of the band’s biggest hits, but you recently decided to stop playing it in concerts. Why?
Albarrán: There are two reasons for that. There are songs that we’ve been playing our whole career and eventually we have to let them rest. But there came a situation in Argentina during an interview when the femicides were happening, and the interviewer questioned us on that song. [Note: The lyrics follow a heartbroken man who considers firing at his “ungrateful” lover.] I personally responded that maybe it was time to ask ourselves whether we should even be playing it, because on social media, some people also questioned it. I thought it was a great idea to let the song rest because it gives room for conversation, and that’s the most important thing.
At the end of the day, these are issues that need to be discussed: femicides, among other things – immigrant rights, women’s’ rights, indigenous people’s rights, animal rights, Mother Earth’s rights. If we don’t talk about these topics, then we have no place in democracy. It won’t exist. Democracy isn’t just voting; it’s relegating your rights.
We made this song in a playful way, and we take elements from culture when creating music. But it so happens that certain songs becomes part of culture, and culture is a form of preserving patterns. Yes, we’re Mexican, and we’re proud to be, but we’re also human. But like all cultures, there are retrograde elements and evolutionary elements. I think we’ll chose to head towards the evolutionary ones and leave the [others] behind.
For many Mexicans who attend your shows in the U.S., there seems to be a tremendous nostalgia for Mexico. How would you compare the experience of playing in the U.S. to performing in your home country?
Albarrán: There’s definitely a melancholic ingredient in our concerts in the United States versus in other places. Not only with Mexicans, but Ecuadorians, Salvadorans, Colombians, etc. Many times they feel far away from their place of origin, from their traditions, from their people. And in a way, Café Tacvba’s music brings them memories. It seems to connect them with all that they miss, because the concerts are very emotive and have lots of energy. We’re very fortunate to have our music connect in that way.
How does it feel to be considered representatives of Mexican music?
Rangel: We don’t think of ourselves as representatives. When we go and make new material, we feel that our creations are more authentic if we think of ourselves. It’s beyond representing, but more like thinking, “What moment are we living? Where am I when making this video? What do I want to demonstrate? What do I want to say lyrically?” Sure, in any given moment that can convert itself into some form of representation, because there are other people living the exact experiences as we are. It’s not something we assume when creating. We don’t say, “Let’s be the representatives and show the moment that our society is in.” But when it comes to performing and we visit other countries, like New York, many people approach us, people who are outside of their own country, and we become a referent, as Ruben was saying. Our shows become this sort of ritual, and our performances become that moment of identity.
Now I’m not sure how each one of us sees ourselves [in the band], but we’re being part of this ritual of identity where people see Café Tacvba as something Mexican, as a representation of the Mexican. The songs, the music, the energy given in a concert. Sometimes I question that there’s not much decision from our part, like there’s something that leads us to this. Something beyond.
Islands are some of the most beautiful, peaceful, violent, desolate and unique places on Earth. While experiencing a tropical island from its sandy beaches, or a volcanic island from its towering peaks is wonderful, experiencing them from above can be inspiring as well.

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