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Amazing Spider-Man #260-261 Up:
Peter Parker, the Spectacular Spider-Man #98
Issue(s): Spider-Man/Fantastic Four #2
Cover Date: Oct 10
Title: "Symbiosis"
Christos Gage - Writer
Mario Alberti - Artist
Tom Brennan - Editor
Steve Wacker - Supervising Editor
Joe Quesada - EiC
I'm noting again that this series is Spider-Man/Fantastic Four in the indicia, but "Spider-Man and the Fantastic Four" on the cover. This is the second part of a four part series showing Spider-Man interacting with the Fantastic Four at various points in time that were visited by a time-traveling Kristoff.
According to this interview, it was Dan Slott that suggested using the period where Spider-Man's alien costume was being held by the Fantastic Four. "Our second issue occurs during the John Byrne run, when She-Hulk had replaced the Thing on the FF. Dan Slott actually made an inspired suggestion surrounding the fact that it was the FF who helped Spider-Man get free of the symbiotic black costume that eventually became Venom".
The story is that the symbiote escapes and briefly possesses each member of the Fantastic Four except the Human Torch, ultimately trying to bond with Franklin Richards before getting recaptured.
Unfortunately this issue is a disaster from a continuity point of view and just way too sentimental from a basic storytelling point of view.
The book opens with Spider-Man visiting the Fantastic Four, and just gushing with geekiness at Mr. Fantastic.
If this was the first, second, fifth time Spider-Man and Mr. Fantastic met, it might have made sense. But Spider-Man has had substantial encounters with Mr. Fantastic before. This same point could also have been made a lot more subtly (i.e., it's fine for Mr. Fantastic to recognize Spider-Man's scientific abilities, and for Peter Parker to have a lot of respect for Reed), but then Spider-Man wouldn't look like a fanboy geek, which seems to have been the point. And... that's not Spider-Man's character. Is Peter Parker really into science? Of course. But when he's in costume, he's our snarky point-of-view character that helps us accept the wackiness of the Marvel universe by making fun of it right along with us. He doesn't have to be in that mode all the time. But having him go so far in the opposite direction is disrupting and it's way overdone.
We then have Angry Sue, which i think is as much thanks to the art as anything.
That mullet really doesn't translate well to Mario Alberti's style.
Seeing this scene of marital bliss, Christos Gage drops in a too-cute "I am never getting married" from Spider-Man.
Then we have the scene where the symbiote breaks out, which is meant to be from a scene repeated in Fantastic Four #274 and Amazing Spider-Man #261 (but see the Considerations section below).
The symbiote comes web swinging for the Richards family, out getting ice cream for Franklin.
It's worth comparing this to scenes in the 1985 issues of Spectacular Spider-Man after it escaped, where it mostly slowly crept along the streets of the city and never formed a fully humanoid Venom-like figure without a host body as it does here.
The creature is targeting Franklin, and while Reed agrees that Sue's powers are more effective against it, he sends her off with Franklin to a safe room while he tries to hold it off.
Not a good strategy. If Sue just held the symbiote in a forcefield for a while, Mr. Fantastic could have gotten Franklin home and grabbed the sonic gun that he used to repel it from Spider-Man. And that's assuming it's strong enough to break out of Sue's forcefield at all, which is a dubious proposition.
But Sue agrees, and soon Mr. Fantastic is covered in symbiote. It does an amazingly quick job of subduing Reed's mind, even as it says that it really wants Franklin because the boy's mind is weaker.
Reed does manage to get the symbiote to go after Spider-Man instead of Franklin.
Spider-Man, meanwhile, is on his way to visit Liz Osborn in the hospital after her ordeal with the Hobgoblin.
Spider-Man gets Reed free at an Iron Man cover band concert.
We then switch to my favorite scene in the book, which is Johnny pulling a prank on She-Hulk and She-Hulk making it clear that she's not going to be putting up with that sort of thing.
She-Hulk had already been part of the team for a while at this point, and Johnny was being written more maturely for the most part, but it's still a fun scene.
But then Sue finally arrives at the Baxter Building, and the symbiote is hot on her heels and possesses She-Hulk.
The good news is that Johnny has no problem using his full flame on She-Hulk, so he's able to get it off of her quickly. It next possesses Sue, which at least has the benefit of covering up that mullet.
The symbiote then transfers to Franklin and i guess what's happening here is Franklin is using his mental powers to destroy Reed's sonic gun (i'm allowing that the symbiote is able to tap into Franklin's suppressed abilities).
That leaves us with a Care Bear moment as the only solution.
After that, the creature is recaptured.
Reed says he doesn't know how it escaped but claims it will only escape again if "someone blows up the building".
Franklin mentally told the symbiote that everyone hates it and no one wants to be its friend, and Mr. Fantastic says that the nature of the symbiote has changed, making it a creature motivated by hate and only drawn to someone full of rage or resentment. I guess we'll have to say that it gave Spider-Man one last try in Web of Spider-Man #1 before truly succumbing to that.
Then we get back to the gushing.
We end with future Kristoff collecting a sample of the symbiote from one of the probes that he re-directed from present day Kristoff before sending it back on its original mission.
With this he will create the symbiote bomb that will cause the Avengers to attack Dr. Doom in Bendis' Avengers.
BTW, i've got Kristoff tagged as a character appearing but this is future Kristoff and so it's an out of sequence appearance for him. That said, present day Kristoff should be considered behind the scenes here as well, since he's the one who sent the probes.
Some of the things i don't love about Mario Alberti's art (the soft, busy lines and occasionally grotesque faces) also allow him to draw a really great looking Venom. The problem with that is that this isn't Venom yet, and the symbiote's look and abilities stick out like a sore thumb among the surrounding non-continuity implant issues. Similar problem storywise. Forget the big continuity problems (we'll get to them below). Just the way the symbiote is handled is really not in line with the period where this story is supposed to take place. I mentioned how quickly the symbiote manages to possess its hosts (the symbiote did manage to posses some ordinary New Yorkers in the original issues but i expect better from Mr. Fantastic), how the "rage" conclusion doesn't really work with the symbiote's next major appearance in Web of, and how quickly it manages to get around. Even its preference for Franklin is hard to swallow; we did see it mesmerizing Franklin in the original issues but presumably that was to get him to free it so it could go back to Spider-Man, who it had already bonded with.
It amounts to the tone of the book just being wrong, and if you're going to allow that to happen while also getting the bigger continuity issues wrong, what's the point of the story? Take all of that out and you're left with "Mr. Fantastic really loves Franklin" and "Spider-Man has a geek crush on Mr. Fantastic". The first is banal, the second is embarrassingly bad.
I generally like Christos Gage as a writer. His Avenger Academy often straddled the line between overly sentimental and heartwarming, but it leaned towards the latter (or, for a teen drama, the style worked better). So this was doubly disappointing. With the Quality Rating below i'm doing my best to ignore the continuity errors and judge the story on its own merits, but as i said, considering what's left, it's still two thumbs down and a raspberry.
Quality Rating: C-
Historical Significance Rating: 2 - reveals the origin of Dr. Doom's symbiote bomb
Chronological Placement Considerations: As i said above, this issue just can't work, continuity-wise. In the original story, Kristoff's probes free the symbiote at night (the moon is out, and the city lights are on), while the Fantastic Four are "away on a mission", and it remains free, creeping around the city, possessing people, as shown in various issues, until it finally reaches Spider-Man in Web of Spider-Man #1. The scene of the symbiote escaping is shown at the end of Fantastic Four #274, and in the middle of Amazing Spider-Man #261, before Liz Allan was hospitalized.
In this issue, the probe scene happens while Reed and Sue have taken Franklin out for ice cream. It's dusk; the sun is still out but the sky is painted golden. And Spider-Man is on his way to visit Liz in the hospital after the symbiote escapes. So already we have a problem. By itself, it's not the end of the world. You could pretend that the scene in ASM #261 was just shown out of sequence, if you ignore the "Just then, across town" and "away on a mission", and the fact that it's the wrong time of day. But that would be ugly.
The bigger problem, though, is that the symbiote is recaptured at the end of this issue. And of course it has to be free to appear in Peter Parker, the Spectacular Spider-Man #98, #99, and #100 and then Web of Spider-Man #1.
So my first thought was to see if two wrongs could make a right. Take advantage of the time difference in the symbiote escape and say that there were two escapes, maybe one initiated by the present day Kristoff and one by the future version. But Liz's hospital stay makes that impossible; even if there were two break-outs, the break-out in this issue would have to occur after the one shown in ASM #261.
Now, Gage's solution seems to be that the costume escaped again when Kristoff launched the building into space in Fantastic Four #278. That can't work for a variety of reasons. The simplest to explain is that in Amazing Spider-Man #267, the Baxter Building is still around (according to the Human Torch) and that issue references Web of Spider-Man #4 which means that the Building also still had to be around prior to Web of Spider-Man #1 (and Spectacular #99, etc.).
So what we're stuck with is assuming that the symbiote escaped again off panel after this issue. We can still go with the "future Kristoff then present day Kristoff" idea; the one thing we have going for us here is that Mr. Fantastic says he doesn't know how the symbiote escaped the first time, which means it's plausible that the same means could have been used to free it both times. But to recap, that means we have one escape shown in three different issues, one of which happens at a completely different time of day, and then another escape that we don't see.
Really disappointing. Now i'll grant you, looking at Amazing Spider-Man #267 to figure out if your story that plays off of FF #274, ASM #261, and FF #278 can work isn't the most obvious thing to do. But you can find other difficulties if you look (even in Web of Spider-Man #1, Peter considers visiting "the Baxter Building")(and put it this way; FF #277 ties in to the Wraith War, so even if you don't know to look at specific things, you should realize that's an area to stay away from). And just think about it by cover dates - FF #274 came out in January, ASM #261 came out in February. Spectacular Spider-Man #98-100 came out from January - March. FF #278 was in May. If you're not going to do the research, do you really want to try to cram five months of Fantastic Four between two issues of Spider-Man? Also? In 2010, there were plenty of nerds on the internet who would have been more than happy to do this research for free.
For Kristoff, since this is out-of-sequence for him due to the time travel involved, i'm listing him with a separate tag than i do for his regular appearances.
No footnotes, but the scene of the symbiote escaping was shown in Fantastic Four #274 and Amazing Spider-Man #261 and it's also because of ASM #261 that Liz Osborn is in the hospital.
Continuity Insert? Y
Characters Appearing: Franklin Richards, Human Torch, Invisible Woman, Kristoff (Time Travel), Mr. Fantastic, She-Hulk, Spider-Man, Venom Symbiote
I'd be tempted to resolve the continuity problems by saying that future Kristoff had managed to time travel into a parallel universe for this issue.
Posted by: Stephen | August 24, 2013 4:40 AM
I did consider placing this whole series in the 2010 year (when i get there...!), looking at it from Kristoff's perspective, and then i could do exactly what you suggest. But i do want this project to incorporate continuity inserts, and of course it wasn't the intent that it was an alternate universe (by this point Marvel had abandoned the time travel = alternate universe idea) so i decided to place it here.
Posted by: fnord12 | August 24, 2013 2:00 PM
In Fall Of The Hulks Alpha it is shown that the Intelligentia has again released the symbiote. I think it is an attempt to correct the error of this story.
Posted by: Midnighter | February 11, 2016 10:49 AM
This issue came out a few months AFTER Fall of the Hulks Alpha. The MCP assumes that the Intelligencia were talking about healing the symbiote after Web of Spider-Man 1.
Posted by: Michael | February 12, 2016 11:53 PM
@fnord and/or michael: Having never read this issue, is there anything specific that says it has to be in continuity? Could Kristoff be responsible for the symbiotes release and get a sample without all the other continuity wrecking stuff in this story? I hate that this issue kinda ruins some of my earliest Spider-Man moments :(
Posted by: Mquinn1976 | January 27, 2018 4:40 PM
Mquinn, as Stephen suggests, you could pretend that this is Kristoff traveling to an alternate timeline. Beyond that, i doubt that this story gets referenced again outside of the Spider-Man/Fantastic Four series (except for what Midnighter mentions, which seems to be a deliberately oblique reference?). So in terms of your personal head canon, i'm sure it's safe to ignore. There's nothing i can do about it being officially in continuity, though. ;-)
Posted by: fnord12 | January 30, 2018 12:28 PM
A part of me suspects the intent was to replace the PPSSM/WSM issues showing Spidey's battle with the symbiote, because I wouldn't put it past 2010 Marvel to wipe away beloved stories so casually. Certainly I can't imagine any effort was put into making that story work with this one; if you told me everyone involved had only ever read Amazing at the time and figured nothing had ever come of the symbiote's escape until Venom came along, I'm not sure I'd be all that surprised.
It does seem that, if you go by the symbiote's demeanor (on top of the whole Liz Allan thing), this escape should take place after the events of WSM #1, but then we're assuming the symbiote, having tried to save Peter with what appeared to be its dying act, was recaptured off panel, sees Peter and Reed talk about it as though a) a ton of info about the symbiote's physiology was new to Peter and b) Peter hadn't gone through the traumatic experience with it of WSM #1, escaped again which the FF and Peter react with complete surprise over, gets recaptured, and then escapes a THIRD time when Kristoff launches the Baxter Building into space. Having this escape come first works better, as fnord lays out, but of course creates the problems mentioned above; if that was the intent, it definitely seems like the ASM #261/FF #274 escape would then be intended to be a separate, later escape if not for the Liz Allan issue.
Posted by: Morgan Wick | March 22, 2018 4:12 AM
The other problems are (a) Peter acts in Amazing 300 like this is the first time he's seen the symbiote since WSM 1 and (b) Brock encounters the symbiote in the same church where it was destroyed. So if this takes place after WSM 1, we have to assume that after it escapes from the Baxter Building, it decides to go back to the church where it was destroyed for some reason just as Brock walks in.
Posted by: Michael | March 22, 2018 8:02 AM
I think Morgan is correct that this was supposed to take the place of the original, much better stories. I think Christos Gage thought it would be kewl to see the symbiote take over the FF. It's so disturbing to me that great writers like Roger Stern, John Byrne, Claremont, etc. had so much more respect for continuity than the (mostly) second rate writers Marvel's had writing their comics over the past 10 or so years.
Posted by: mquinn1976 | March 22, 2018 9:41 AM
I agree with mquinn. And I'm a little surprised that fnord's "two thumbs down and a raspberry" means the Quality Rating of this dreck goes no lower than C-. Spider-Man's characterization alone would've made this a mediocre story at best ("I'm never getting married. I have or have meant to pop the question to three different women, but the fearsome challenge of living with someone you love is not a cakewalk like facing Galactus.")
But the concept itself is pathetic, pointless and perplexing. The result is not even kewl for kewl's sake; falling short, in fact, of the the kind of standards I had as a kid back when I enjoyed Rob Liefeld. There's a "What If the Alien Symbiote Had Taken Over Spider-Man?" (by Fingeroth/Bagley, IIRC) that does a much better job, I wish I had a scan to prove it. And the dialogue, oh, for Parker's sake, the dialogue. It's as tiresome as the script, as gratuitous as the concept, as awkward as the art, as damaging as the continuity mutilation, and even more melodramatic than the action sequences. Allow me, if it you please, to give a two thumbs and two toes down, and a bushel of raspberries.
Posted by: The Transparent Fox | April 22, 2018 2:13 PM


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A Message For Trump On Trade: Get Real
By Steve H. Hanke • Sunday, March 17, 2019 | Topic: U.S.
Two back-to-back, stunning economic headlines arrived in less than twenty-four hours. The first appeared on March 5 in the Wall Street Journal: "U.S. Budget Gap Widened 77% in First Four Months of Fiscal Year." Following on the heels of that shocker, Bloomberg on March 6 ran this headline: "U.S. Trade Gap Surged to $621 Billion in 2018, 10-year High."
What President Trump and his team of protectionists must learn is that these two headlines are interconnected—joined at the hip. If the government runs a big fiscal deficit, the U.S. will run a big trade deficit. Alas, this fact has never crossed President Trump's mind.
President Trump, and most in his administration, believe that the U.S. trade deficit is a "bad" thing caused by foreigners who engage in unfair trade practices. For them, the solution is U.S. imposed tariffs and other anti-trade measures. Our trade deficit is made in the good, old U.S.A., not by foreigners engaging in "unfair" trade practices. Tariffs will not change the overall U.S. trade balance.
The U.S. trade deficit will not only be made in the good, old U.S.A, it will be made by President Trump himself.
How could this be? In economics, identities play an important role. These identities are obtained by equating two different breakdowns of a single aggregate. In national income accounting, the following identity can be derived. It is the key to understanding the trade deficit.
(Imports - Exports) ≡ (Investment - Savings) + (Government Spending - Taxes)
Given this identity, which must hold, the trade deficit is equal to the excess of private sector investment minus savings, plus government spending minus tax revenue. So, the counterpart of the trade deficit is the sum of the private sector deficit and the government deficit (federal + state and local). The U.S. trade deficit, therefore, is just the mirror image of what is happening in the U.S. domestic economy. If expenditures in the U.S. exceed the incomes produced, which they do, the excess expenditures will be met by an excess of imports over exports.
U.S. data supports this. The cumulative trade deficit the U.S. has racked up in the 1975-2016 period is about $11.154 trillion, and the total investment minus savings deficit is about $10.435 trillion.
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Congressman DeFazio's Misinformed Arguments for Leaving the WTO
So, President Trump can bully countries he identifies as unfair traders, he can impose all the restrictions on trading partners that his heart desires, but it won't change the trade balance. Never mind the fact that most economists think President Trump's ideas on trade are rubbish. When it comes to trade, Trump is the master of the message and the optics. In consequence, his base is with him on trade, and so are a surprising number of others.
The problem is that Trump's trade rubbish is tailor-made for delivery on Twitter and television. Indeed, those media outlets are suitable for "sound bites," but not for complex arguments and data points.
That's why economics is at a disadvantage when it comes to Trump's favorite media. Nevertheless, this is what economics has to say about the trade deficit bugaboo. First, it is not a "problem." Indeed, the U.S. has run a trade deficit every year since 1976, and the U.S. has done relatively well since then. The sky didn't fall because of our trade deficit. Secondly, the trade deficit is not made by foreigners who engage in unfair trade practices. It is homegrown—made in the U.S.A. To the extent that domestic savings in the U.S. falls short of domestic investments, the economy must import more than its exports, resulting in a negative trade balance.
As it turns out, the Trump administration's fiscal policies will continue to throw a spanner in Trump's trade policy works. If his fiscal deficits are not offset by an increase in private savings relative to private investment, increases in the Federal deficit will translate into larger trade deficits. So, the U.S. trade deficit will not only be made in the good, old U.S.A, it will be made by President Trump himself, an arch-enemy of trade deficits.
It's time for President Trump to connect the dots and get real on trade.
This article appeared in Forbes.
About The Author Steve H. Hanke
Steve H. Hanke is a Professor of Applied Economics and Co-Director of the Institute for Applied Economics, Global Health, and the Study of Business Enterprise at The Johns Hopkins University.

redpajama_set_name: RedPajamaCommonCrawl


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Postcard: 2009 George Morris Horsemastership Welcome
George Morris shares the strengths of the riding luminaries who will be training eight young riders this week in his 2009 Horsemastership Training Session.
George Morris | Photo by Sandra Oliynyk
January 4, 2009 -- George Morris kicked off his third annual Horsemastership Training Session tonight by talking to the eight young riders who, for the next five days, will be immersed in learning how the stars of the sport rose to the top. The legendary horseman and chef d'?quipe of the Olympic gold medal show-jumping team last summer in Hong Kong spoke to them at the welcome reception at the Equestrian Club in Wellington, Fla.
"Knowledge is power," George said. "I've always loved education. And still by my bedside, I always have a horse book. Don't ever underestimate education."
He continued, saying, "We have a problem today and that's called horse show, horse show, horse show, horse show, horse show, horse show. That's competition. That's competitive education. That isn't basic education. That isn't necessarily horsemanship or horsemaster education."
George's goal is to instill more basic education in these young riders, and this year he will get help from five Olympic riders whom he handpicked to teach the young riders this week at the South Grounds of the Palm Beach International Equestrian Center in Wellington. (George leaves Monday morning for prior clinic engagements in Australia and South Africa.)
"Nothing happens by accident," George said. "We constructed this, John Madden (who masterminded the training sessions) and I, on purpose." George then explained why they selected each of the trainers and what the young riders could expect to get out of their sessions.
About dressage Olympian Robert Dover, who will be teaching four riding sessions and giving a lecture Monday on basic classical riding:
"Robert Dover is a consummate rider in what we call 'on the flat' in dressage. He's absolutely a classical rider, classically trained, great teacher, great rider. He's going to get things started off the ground with what I call 'walk, trot, canter.' Jumping is simply a tangent to walk, trot, canter. Walk, trot, canter to me is first. He'll be brilliant to start this off."
About show-jumping Olympian Anne Kursinski, who will be reviewing flatwork and gymnastic exercises Tuesday:
"If I had to think of somebody world class--forget how well Anne jumps--but in the world, walk, trot canter on the flat, she is absolutely second to none. And I thought that was a great transition to take up where Robert left off for you to make that bridge with the flatwork, which Anne is so brilliant at, and cavalletti work, which is the bridge to jumping."
About 2008 Olympic team gold medalist Laura Kraut, who will be teaching course strategy Wednesday:
"Laura Kraut is an innate horse woman. She has an innate sense and a great empathy for the horse. She honestly loves her horses. And horses love to go well for her. She's also a great ring rider. She has a great sense of the ring. She grew up in the South. The South is different than the North in that one is not so formally introduced to riding as is to the nature of the horse, going cross-country, fox hunting, riding hunters. That has given her this great ring sense."
About 2008 Olympic team gold and individual bronze medalist Beezie Madden, who will be sharing her system Thursday:
"She's the consummate stylist. I don't worship winning. I don't worship my paycheck. I worship the American style of riding. To be perfectly frank, I have passionately protected it. I still promote what we call the forward seat. Beezie represents that to a tee. She represents the position, she represents the flatwork, she represents the course analysis of what I call the American forward seat."
And finally, about 2008 Olympic team gold medalist McLain Ward, who will be sharing his system on Friday:
"Then we have 'Mr. Perfect,' McLain Ward. I say that with reverence. He is absolutely the consummate stylist. Position is everything to him as a base. Of course, the execution is magnificent, but much as I've always done as a teacher, I think position is so, so important, and I still stress that so much in my clinics. And that I'm sure you'll [speaking to McLain] stress that, too. Also, I said, let's see your system. Yes, I indirectly know your system. But you have a very, very definite system. This is something I preach and preach and preach. Everybody has a different system. What's important is that you're very, very convinced about your system. You really believe in your system. This is what I think will be a very strong day with McLain. His particular system will be very interesting."
George ended by encouraging the riders to "prick their ears" with all of the experts--the riders, veterinarians and stable managers--who will be sharing their knowledge with them.
The riding sessions and many of the horse-care sessions are open to the public free of charge. For a schedule, go to www.syracuseinvitational.com.
Sandra Oliynyk is the editor of Practical Horseman magazine.
The training session is hosted by Bates Saddles and Equestrian Sport Productions and supported by the U.S. Equestrian Federation. In addition to Bates, supporting organizations include Purina Mills, the U.S. Equestrian Team Foundation, the U.S. Hunter Jumper Association, the Syracuse Invitational Sporthorse Tournament, Nutramax (Cosequin ASU), the American Society for the Prevention of Cruelty to Animals and Practical Horseman.
Postcard: George Morris Horsemastership Intro
George Morris kicks off this year's Horsemastership Training Session by introducing the horsemen and -women who will be working with eight talented young riders this week.
Postcard: 2009 George Morris Horsemastership Day 5
Olympic gold medalist McLain Ward encourages riders to take bits and pieces of knowledge from the George Morris Horsemastership Training Session and make them their own.
Dressage Olympian Robert Dover encourages eight young riders to have a vision of how great they can be and gives them tools to achieve that greatness at the 2009 Horsemastership Training Session.
Olympian Laura Kraut gives the young riders at the 2009 Horsemastership Training Session a taste of what it's like to ride at an international level.
Olympian Anne Kursinski shows riders how to influence their horses with a strong position on the flat and over gymnastic exercises at the 2009 Horsemastership Training Session.
Postcard: Day 1, George Morris Horsemastership
The young riders at the 2007 George Morris Horsemastership Training Session in Wellington, Fla., get a lesson on longeing from Morris and focus on their flatwork.
Olympic gold medalist Beezie Madden works on improving the horse's rideability with a few simple exercises at the 2009 Horsemastership Training Session.
Day three of the 2007 George Morris Horsemastership Training Session brings a bandaging demo, gymnastics, a lesson on the pulley rein and more.
January 19, 2007 -- Day four of the George Morris Horsemastership Training Session brings a talk on equine nutrition and lots of work without stirrups, including George himself showing the young riders how it's done.


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Maritime News - 2005 Sep 19
Hurricane Katrina – Oil Pollution Response
The U.S. Coast Guard issued a Press Release updating the response to oil pollution incidents in the Sector New Orleans area of responsibility resulting from Hurricane Katrina.
NOAA Assists in Waterway Clean Up
Less than two weeks after Katrina made landfall, ports along the Gulf coast and channels on the Mississippi River are once again navigational and safe for ship traffic.
Hurricane Katrina – USCG Operations in Sector New Orleans
The U.S. Coast Guard issued a Marine Safety Bulletin expressing its appreciation for the overwhelming industry support during the ongoing response effort to Hurricane Katrina.
Marine Debris Removed from Remote Hawaiian Islands
Members of the U.S. Coast Guard, NOAA, and the University of Hawaii's Sea Grant Program have just returned from a joint mission to remove thousands of pounds of…
Coast Guard Authorization Act Passes House
By a unanimous vote, the House of Representatives approved the Coast Guard and Maritime Transportation Act of 2005 (H.R. 889). A variety of amendments were added…
Navy Objection May Sink LNG Project
The U.S. Navy could help scuttle plans of a developer that would have LNG tankers trolling through the Navy's torpedo test range in Rhode Island's Narragansett Bay…
Ferry Project Open for Bids
Shipyards likely will submit new proposals to build four Washington state ferries after the state dropped its appeal of a court order that invalidated part of its selection process…
USCG to Examine Brazilian Ports
As part of new security measures implanted by the International Maritime Organization (which has 160-nation members) since 9/11, a US Coast Guard delegation will…
Oceaneering Wins Navy Contract
LVI Lo/Lo). completed in September 2010. current fiscal year. Naval Research Request for Proposal (RFP Number N00014-05-R-0009). Naval Research, Arlington, Va.,…
New York Water Taxi Takes Delivery
After delivering a new passenger catamaran for New York Water Taxi in June, Gladding-Hearn Shipbuilding has delivered her sistership, the Sam Holmes, for shuttle service on New York Harbor.
Aker Yards Signs Retrofit Contract
Aker Yards and the German TT-Line have signed a contract for retrofitting of four passenger-car ferries. The retrofit means renewing the vessels fuel systems to…
Keppel FELS Delivers Jackup Rig
Keppel FELS Limited (Keppel FELS), a subsidiary of Keppel Offshore & Marine Ltd (Keppel O&M), delivered a KFELS B Class jackup rig to the National Drilling Company…
Six New S&R Vessels for Vietnam
Damen delivered the last Search and Rescue Vessel, out of a series of six vessel to Vinamarine (Vietnam National Maritime Bureau). The vessel, named SAR 413, was…
Irish Ferries Must Cut Costs to Survive
Irish Ferries is offering voluntary severance package to its 543 seafaring employees on its Irish Sea services between Dublin/Holyhead and Rosslare/Pembroke. These…
This Day in Naval History - Sept. 17
1861 - Union landing party from USS Massachusetts takes possession of Ship Island south of New Orleans. This was the headquarters for Adm. David Farragut's Gulf Coast Blockading Squadron.
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Slide #24. Millennial Media — Jumptap
Acquirer: Millennial Media (MM)
Acquiree: Jumptap
Details: Keating Capital, Inc. (NASDAQ:KIPO) (www.KeatingCapital.com), a pre-IPO investor and a business development company, announced that, on August 13, 2013, Jumptap, Inc. signed a definitive merger agreement to be acquired by Millennial Media, Inc. (NYSE:MM) in a predominantly stock transaction. According to Millennial Media, based on its closing share price on August 9, 2013, Jumptap stockholders will receive shares of Millennial Media common stock representing approximately 22.5% of the pro forma ownership post transaction, and valuing the transaction at approximately $225 million.
Millennial Media is engaged in the business of providing mobile advertising solutions to advertisers and developers. At the core of Co.'s solutions and services that it provides to developers and advertisers, is MYDAS, its mobile advertising technology, along with its data assets. Co. provides tools and services that allow developers to display video ads, banner ads, media ads and native ad formats from its platform. Co. provides programmatic buying capabilities to advertisers through its ad exchange and through its demand side platform, mmDSP. Co. provides developers reporting and analytics through an integrated dashboard on its mMedia portal.
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Blue Eyes originates from Derby and his real name is Mick Mott. He was originally known as MC Groove and released a 12″ called 'The Groove' in 1989. He later changed his named to Blue Eyes and released two singles 'Soul Tip' in 1991 and 'Straight From The UK' in 1994. He is also an unofficial member of the Suspekt crew.
He is also responsible for the brilliant 'Underground Unsigned Volume One' compilation album released in 1994.


text:
William Villalongo
Contemporary Artists Animate Masquerade Traditions
Brooklyn Museum's Disguise: Masks and Global African Art exhibition
When W.E.B. Dubois advanced the "life behind the veil" and "double consciousness" concepts in The Souls of Black Folk (1903), he was referring to African American experiences of separation and invisibility that also characterize the act of masking. In his poem, "We Wear the Mask," Paul Laurence Dunbar graphically described the tradition of masquerade in African Diasporic life:
We wear the mask that grins and lies/It hides our cheeks and shades our eyes,—/This debt we pay to human guile;/With torn and bleeding hearts we smile,/And mouth with myriad subtleties./Why should the world be over-wise,/In counting all our tears and sighs?/Nay, let them only see us, while/ We wear the mask....(Excerpt from "We Wear The Mask" from Dunbar's Lyrics of Lowly Life (1896).
This poem is noted as an inspiration for Sam Vernon, one of 25 contemporary artists represented in the Brooklyn Museum's Disguise: Masks and Global African Art exhibition, currently on view through September 18, 2016.
Originally organized by the Seattle Art Museum, the exhibition in its Brooklyn iteration includes more than 25 additional works from the museum's collection of historical art. Classical masks on display (the earliest date to the mid 1800s) represent a variety of ethnic groups and regions on the continent and are made by mostly unidentifiable artists.
The contemporary artists featured in the exhibition are Leonce Raphael Agbodjélou (Benin), Nick Cave (U.S.), Edson Chagas (Angola), Steven Cohen (South Africa/France), Willie Cole (U.S.), Jakob Dwight (U.S.), Hasan and Husain Essop (South Africa), Brendan Fernandes (Kenya/Canada/U.S.), Alejandro Guzman (Puerto Rico),
Gerald Machona (Zimbabwe), Nandipha Mntambo (South Africa), Jean-Claude Moschetti (France/Benin), Toyin Ojih Odutola (U.S.), Emeka Ogboh (Nigeria), Wura-Natasha Ogunji (U.S./Nigeria), Walter Oltmann (South Africa), Sondra R. Perry (U.S.), Jacolby Satterwhite (U.S.), Paul Anthony Smith (Jamaica/U.S.), Adejoke Tugbiyele (U.S./Nigeria), Iké Udé (U.S./Nigeria), Sam Vernon (U.S.), William Villalongo (U.S.), Zina Saro-Wiwa (U.S./U.K./Nigeria), and Saya Woolfalk (U.S.).
These various forms — classical masks, the contemporary art on view, masquerade in a larger context, and the expression of writers like Dubois and Dunbar — all raise questions of individual and communal agency. Who has a choice (literally and figuratively) about when, where and how to perform masquerade?
In this exhibition several artists disrupt and subvert the power dynamics of traditional masquerade. For example, artists Zina Saro-Wiwa, Wura-Natasha Ogunji, and Alejandro Guzman all perform traditionally male masquerades from a female view.
The overall exhibition examines masks and masquerade from a macro level through categorical groupings. "BECOMING Artifacts" displays a selection of classical masks addressing the objecthood of historical items taken out of context. "BECOMING Another Body" looks at masks in a performance context. "BECOMING Controlled" examines masks as a function of social control. "BECOMING Another" addresses empathy, and what it is like to walk in another's shoes. "BECOMING Again" deals with the re-invention of masquerade in response to contemporary issues. "BECOMING Political" presents masks as tools of critique. And finally, "BECOMING New" looks to the future and innovation via new masks.
The exhibition's mix of sculpture, photography, performance, video, digital media, sound and installation art creates an exquisitely immersive environment that inspires awe at every turn. The dialectic between classical work and contemporary art invigorates the senses and compliments the conceptual rigor of much of the newer work.
A contemporary flashpoint that stands out in several bodies of work in the show is an exploration of gender fluidity in specific cultural contexts, some real and some imagined. These artists navigate, disrupt, subvert and intervene in gendered terrain in the streets of Lagos, Nigeria, the imaginative space of gender specific secret societies, and in the colonial past.
Alejandro Guzman's The Fatalist, is one of the first contemporary works near the entrance to the exhibition. It is a sculptural performance object that can function simultaneously as a costume, altar, and moving sculpture. The work was originally performed with a companion, and was made in communion with the Vejigante masquerade tradition in Puerto Rico and the Yoruban deity, Obatala, the Creator.
The life size structure contains textural variety, strong graphic elements, and a pleasing asymmetry that coalesces in a uniquely balanced hybridity. Touches of textile trimming, shells, pink paint, wood, wire, white cloth, geometric sky blue cutouts, fur, rose colored glitter, horns and assorted other materials comprise its exterior.
In Puerto Rico, the Vejigante is typically performed by men. As a subversive commentary on this gendered dynamic, Guzman noted in an email that heembodies The Fatalist as a female spirit in his sculptural performance to reflect his embrace of matriarchal power structures. Formally, this position is symbolically reflected in the The Fatalist's mirrored belly which is constructed in a reticulated form. The form suggests a dynamic receptive approach to the self and universe typically associated with concepts of the feminine.
A grouping ofNandipha Mntambo's photography and sculpture visually revolves around the mythology of bulls. Riffing on Greek mythology and traditional Spanish bullfighting, Mntambo re-imagines ownership of masculine and feminine performative space and beyond.
In the photographic series, Praça de Touros (Bullring), shot at an old bullfighting ring in Mozambique, a former Portuguese colony, Nandipha Mntambo dons the costume of a bullfighter and regally performs her role with a powerful embodiment of her character.
In the works, Europa and Sengifkile (Now I'm Here), a photograph and a sculpture, Mntambo explores the animalistic side of humanity through creating and inhabiting a being who is half-bull and half-woman.
Her bodily gestures frozen in sculpted poses reveal her absorption in the experience through small cues, such as a strong grip on her red bullfighting cloth, erect legs, advancing shoulders and piercing eyes that resonate beyond the 2D plane of her photographs.
Exhibition wall text includes this comment from Mntambo: "It's so easy to separate the binaries of attraction/repulsion, male/female, animal/human, myth/reality, black/white, Africa/Europe, but my fascination is with the in-between space and how it leads to understanding the world in a more global way."
Saya Woolfalk's piece, ChimaTEK: Virtual Chimeric Space, encapsulates a large cordoned off space at the center of the exhibition. The dimly lit area is an immersive futuristic wonderland filled with sculpture, textiles, video, futuristic beings and digital media.
However, Woolfalk's playful colorful installation belies a supremely forward-thinking realm of possibility for global humanity, grounded in empathy. The work follows up on two previous projects that Woolfalk describes in wall text, the first of which was, "...a future constructed for the investigation of human possibilities and impossibilities. It features configurations of biology, sociality, race, class, and sexuality." After which she created, "a science fiction–inspired project about a fictional group of women called Empathics, to explore the process of hybridization."
ChimaTEK's narrative revolves around a, "patented system [that] makes our interspecies and intersubjective hybridization available to all." The work explores blurring psycho-social boundaries in an effort to create universal access to cognitive and cultural consciousnesses. Through her use of color, shape and soundscapes, Woolfalk creates an atmosphere where this seems like a viable possibility, as well as a retort to a preponderance of dystopic takes on the future of humankind.
The work also appears to reference a global array of spiritual thought systems, including the women's Sande societies of the Mende people, meditation, yoga, chakras and Woolfalk's two years of folkloric performance study in northern Brazil.
Two artists with work on view in the latter half of the exihibition, Zina Saro-Wiwa and Wura-Natasha Ogunji, infiltrate masquerade styles that are traditionally male.
Saro-Wiwa engages the Ogele masquerade tradition of Ogoniland in the Niger Delta region of Nigeria, her region of origin. And, Ogunji performs Egungun in the streets of Lagos, Nigeria's capital.
Saro-Wiwa's motivation for creating an all female masquerade group, commissioning her own mask, and creating photographs and video work about it, appears to be three-fold. One reason is political and simply put: "Ogele masquerade is dominated by men," she says. Another is personal — her "desire to penetrate this secretive world of men." She also wanted to "explore the utility of masquerade as a strategy for catharsis."
In her series of photographs, Men of the Ogele: The Whirlwind Series, Saro-Wiwa documents male masquerade dancers in intimate relation to their photographer. The outdoor portrait-style images — UV prints on aluminum — vibrate through a muted jewel tone palette. Saro-Wiwa's access to the group was undoubtedly in part due to the Ogoni communities reverence for her late father, internationally acclaimed and beloved human rights activist Ken Saro-Wiwa.
The series accompanies a triptych video piece and photographic documentation of Saro-Wiwa's commissioned mask, Invisible Man. Both are meditations on loss, mourning, anger and the space in between a face and a mask.
In contrast to Saro-Wiwa's reflections on interiority, Wura-Natasha Ogunji's An Ancestor Takes a Photograph and Will I Still Carry Water When I Am a Dead Woman?, loudly claim a woman's space in secret society territory traditionally forbidden to women.
Through Street Egungun and Futuristic Egungun performance interventions in the streets of Lagos, Ogunji seems to engage both feminist leanings and the timelessness of spiritual reality. These interpretations expand upon traditional egungun costumes which connect the Yoruba people with the spirits of departed ancestors.
Photographs that document and capture the energy of Ogunji's masquerader's movement through the city echo not only the power of female subversion, but also the masquerade's function of concealing personal identity to enable the wearer to transcend it and other aspects of the physical realm.
The camera angles and vitality of the photographic performance stills on view and Ogunji's actual Street Egungun costumes seem to carry an unapologetic embrace of tradition and a contemporary claiming of female self-actualization.
There is a bounty of wonder filled work in Disguise: Masks and Global African Art. The re-organization and augmentation of the exhibition by the Brooklyn Museum's curatorial team enhances the depth of the contemporary work and provides an increased understanding of the incredibly creative and meaningful continuum of masquerade in the human experience.
- Diana McClure
Source: http://iraaa.museum.hamptonu.edu/page/Cont...
← Life Lived in Bed-Stuy and Crown Heights Surveyed at BRIC Biennial, V.II 'Disguise: Masks and Global African Art,' Where Tradition Meets Avant-Garde →
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The Latest: Cambodia opposition leader: 'My duty' to go home
Published Sat Nov 09 2019 09:29:42 GMT+0000 (Coordinated Universal Time)
KUALA LUMPUR, Malaysia (AP) — The Latest on exiled Malaysian opposition leader Sam Rainsy's effort to return to his home country (all times local):
Cambodia's exiled opposition leader Sam Rainsy, upon landing in Malaysia, says he's determined to return to his homeland despite strong attempts by Cambodian Prime Minister Hun Sen's government to thwart him.
Rainsy told reporters after his arrival in Kuala Lumpur on Saturday that he has been invited to Malaysia's parliament Tuesday as part of a private visit, an indication that he'll miss a self-imposed deadline to return by Saturday, Cambodia's Independence Day.
He refused to disclose his plans, but said "I will go back home, it is my right, it is my duty." He said the opposition is "on the right track" and will "keep up the hope we will win."
Rainsy had been blocked on Thursday by Thai Airways from boarding a flight from Paris, where he lives in exile, to Bangkok. He took another flight Friday to an undisclosed destination.
Cambodia's exiled opposition leader Sam Rainsy has landed in Kuala Lumpur in a bid to return to his homeland after Thailand had earlier blocked him from entering.
Rainsy was speaking to reporters after landing in Kuala Lumpur on Saturday.
Rainsy was stopped Thursday by Thai Airways from boarding a flight from Paris, his home in exile, to Bangkok. He boarded a flight on Friday from Paris to an undisclosed destination.
Cambodia's exiled opposition leader Sam Rainsy is racing against time to meet his self-declared Saturday deadline to return to his country to lead a movement to depose long-serving Prime Minister Hun Sen.
Sam Rainsy said late Friday he was boarding a plane in Paris, his home in exile, for an undisclosed destination.
An effort he made Thursday to fly from Paris to Thailand — Cambodia's western neighbor — was thwarted when Thai Airways refused to let him board. Thai Prime Minister Prayuth Chan-ocha earlier said he would be barred from entering.
Hun Sen's government has declared Sam Rainsy and fellow leaders of the banned Cambodia National Rescue Party unwelcome to return, beefing up security on the country's land borders and telling airlines they should not carry him to his homeland.
Cambodian Prime Minister Hun Sen, center, greets his government officers during the country's 66th Independence Day from France, at the Independence Monument in Phnom Penh, Cambodia, Saturday, Nov. 9, 2019. The leader of the banned Cambodia National Rescue Party, Sam Rainsy was boarding a fly in Paris for his attempt to return home to challenge his country's longtime autocratic leader as the security inside the country was on high alert and beefed up. (AP Photo/Vithy Soth)
Cambodian Prime Minister Hun Sen, front right, talks in front of U.S. Ambassador to Cambodia W. Patrick Murphy, second from left, during the country's 66th Independence Day from France, at the Independence Monument in Phnom Penh, Cambodia, Saturday, Nov. 9, 2019. The leader of the banned Cambodia National Rescue Party, Sam Rainsy was boarding a fly in Paris for his attempt to return home to challenge his country's longtime autocratic leader as the security inside the country was on high alert and beefed up. (AP Photo/Vithy Soth)


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WORK HARD. STUFF WILL HAPPEN THEN YOU CAN MAKE S**T HAPPEN.
What have you done today to achieve this?


text:
Entertaining:
Entertaining | 15 Oct 2018 | By Harriet Lloyd-Smith
Revolutionary magazine covers since the 1950s 'Uncovered' in a new book
The cover from the launch issue of Wallpaper* magazine, Sept/Oct 1996 is featured in Uncovered by Ian Birch
As the age-old adage goes, 'There is no such thing as a good magazine with a bad cover.' This is the theme of Uncovered, a new book detailing the most iconic, provocative and memorable British and American magazine covers to emerge during the last 60 years.
The fruit of two years of meticulous research by author and media veteran, Ian Birch, this unique social archive presents a rounded chronology of the newsstand cover's power as a crucial marketing tool. Birch tracked down and interviewed over 150 key people from titles like Vogue, Wallpaper*, Esquire, The New Yorker, i-D, The Face, Private Eye, and Rolling Stone to highlight the long and often turbulent process of executing a cover that defines and justifies its content.
Uncovered: Revolutionary Magazine Covers by Ian Birch explores seminal designs from the 1950s and onwards
The visual chronicle begins in the late 1950s, tracing cultural and political shifts, moments that shattered conventions and covers that made history through to present day. 'I end when covers were re-energised by the twin political thunderbolts of Brexit and Trump, and the warped speed of the political news cycle,' says Birch.
Among the honour roll is the cover of Wallpaper's first issue, from September/October 1996. Sexy, slick and style-savvy, it showed a pair of models wearing clad in Tom Ford's Gucci (she in a daring cut-out dress, he in a beige open cardigan and relaxed fit white trousers), sauntering about minimalist loft of Walter Schupfer in New York. It was the world of Wallpaper* – contemporary fashion, lifestyle, architecture, interiors – brimming with idealism and tied neatly in a single composition. 'Culture went to some very dark places then, like heroin chic, but we wanted to be that constant on the horizon which was sunny and positive and our own place,' recalls our founding editor, Tyler Brûle. 'It was ahead of its time then but now it's completely mainstream,' adds Tony Chambers, editor-in-chief from 2007-2017.
Some covers have even been honoured in their own exhibition, such as George Lois' 92 creative offerings for Esquire (see above), displayed at MoMA in 2008. In conversation with his frequent photography partner, Carl Fisher, Lois recounts the stories behind his most distinctive visuals for Uncovered – including a black Santa Claus modeled by boxer Sonny Liston (in 1963, a pivotal year for the Civil Rights Movement), Muhammad Ali posing as San Sebastian (1968, an homage to the sporting legend's draft resistance), and Andy Warhol drowning in a can of Campbell soup (1969, a comment on the absurdity of fame).
The book is a tribute to the cover lines that shocked, the images that collared taboos and sparked debate, and the creations that augmented the possibilities of print media. It discusses the cover's capacity to generate an immediate emotional response in a world where success is marked by an ability to attract, seduce and inform prospective readers. Throughout, Birch seeks to define the ultimate cover formula, whether through graphic minimalism, conceptual potency, intense eye contact or lack of 'cover line clutter.' If there's ever been such a thing as 'the perfect cover' to distil and amplify the voice of a title, it's very likely be found in Uncovered. §
One magazine, August 1958, managing editor Don Slater, art director Eve Elloree, cover artist Dawn Fredericks
Cosmopolitan magazine, July 1965, editor Helen Gurley Brown, cover photographer J Frederick Smith, cover model Renata Boeck
Uncovered: Revolutionary Magazine Covers published by Cassell. For more information, visit the Amazon website


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After discovering he has rituals, Lincoln worries he's predictable and vows to change it up.
Episode Title: Predict Ability
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iCarly is an American teen sitcom that ran on Nickelodeon from September 8, 2007 until November 23, 2012. The series was created by Dan Schneider. It focuses on teenager Carly…
Genre: Comedy, Family, Romance
A group of single parents lean on each other to help raise their 7-year-old kids and maintain some kind of personal lives outside of parenthood.
The story of Queen Victoria, who came to the throne at a time of great economic turbulence and resurgent republicanism – and died 64 years later the head of the…
A group of high school students navigate love and friendships in a world of drugs, sex, trauma, and social media.
Seinfeld is an American television sitcom that originally aired on NBC from July 5, 1989, to May 14, 1998. It lasted nine seasons, and is now in syndication. It was…
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Set in the present, the series offers a bold, subversive take on Archie, Betty, Veronica and their friends, exploring the surreality of small-town life, the darkness and weirdness bubbling beneath…
Given superstrength and durability by a sabotaged experiment, a wrongly accused man escapes prison to become a superhero for hire.
Genre: Action, Action & Adventure, Crime, Drama, Sci-Fi, Sci-Fi & Fantasy, Thriller
Daredevil, Jessica Jones, Luke Cage and Iron Fist join forces to take on common enemies as a sinister conspiracy threatens New York City.
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O.J.: Made in America
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Kim Sun Young
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Kim Sun Young And Lee Yoon Ji's "Dream Palace," Kai Ko And Vivian Hsu's "Mama Boy," And More To Be Featured At The Reel Asian Film Festival
58th Baeksang Arts Awards Announces Presenter Lineup
Han Ji Eun, Hong Jong Hyun, And More Confirmed For Comedy Drama About Stock Investing
Gong Yoo, Bae Doona, Lee Joon, And More Encounter A Mystery On The Moon In "The Silent Sea" Poster
Watch: Gong Yoo, Bae Doona, And More Risk Their Lives To Solve A Mystery In Space In New Trailer For "The Silent Sea"
"The Silent Sea" Captures Suspense With New Stills Of Gong Yoo, Bae Doona, And More Completing A Mission In Space
Gong Yoo, Bae Doona, And More Head To Space For A Secret Task In Character Posters For "The Silent Sea"
Watch: Gong Yoo, Bae Doona, And More Begin A Dangerous Mission With A Slim Chance Of Survival In "The Silent Sea"
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package org.rapidpm.vaadin.trainer.backend.security.login;

import static java.time.Duration.between;

import java.time.Duration;
import java.time.LocalDateTime;
import java.util.Map;
import java.util.Timer;
import java.util.TimerTask;
import java.util.concurrent.ConcurrentHashMap;

import org.rapidpm.frp.model.Pair;
import org.rapidpm.vaadin.trainer.api.security.login.LoginService;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

/**
 *
 */
public class LoginServiceInMemory implements LoginService {

  private static final Logger LOGGER = LoggerFactory.getLogger(LoginServiceInMemory.class);

  private static final Map<String, Pair<LocalDateTime, Integer>> failedLogins = new ConcurrentHashMap<>();
  public static final int MAX_FAILED_LOGINS = 3;
  public static final int MINUTES_TO_WAIT = 1;
  public static final int MINUTES_TO_BE_CLEANED = 2;
  public static final int MILLISECONDS_TO_BE_CLEANED = 1_000 * 60 * MINUTES_TO_BE_CLEANED;

  public static final int MILLISECONDS_INITIAL_DELAY = 100;

  public static class FailedLoginCleaner {
    private final Timer failedLoginCleanUpTimer = new Timer();

    public FailedLoginCleaner(TimerTask tasknew) {
      failedLoginCleanUpTimer.schedule(tasknew , MILLISECONDS_INITIAL_DELAY , MILLISECONDS_TO_BE_CLEANED);
    }
  }

  private static final LoginServiceInMemory.FailedLoginCleaner FAILED_LOGIN_CLEANER = new LoginServiceInMemory.FailedLoginCleaner(new TimerTask() {
    @Override
    public void run() {
      LOGGER.debug(" start cleaning " + LocalDateTime.now());
      failedLogins
          .keySet()
          .forEach((String key) -> {
            Pair<LocalDateTime, Integer> pair = failedLogins.get(key);
            if (pair != null) {
              LOGGER.debug("work on login/pair = " + key + " - " + pair);
              final Duration duration = between(pair.getT1() , LocalDateTime.now());
              long minutes = duration.toMinutes();
              if (minutes > MINUTES_TO_BE_CLEANED) {
                failedLogins.remove(key); // start from zero
                LOGGER.debug("  ==>  cleaned key = " + key);
              }
            }
          });
    }
  });

  @Override
  public boolean check(String login , String password) {
    if (failedLogins.containsKey(login)) {
      Pair<LocalDateTime, Integer> pair = failedLogins.get(login);
      LocalDateTime failedLoginDate = pair.getT1();
      Integer failedLoginCount = pair.getT2();
      if (failedLoginCount > MAX_FAILED_LOGINS) {
        LOGGER.debug("failedLoginCount > MAX_FAILED_LOGINS " + failedLoginCount);
        final Duration duration = between(failedLoginDate , LocalDateTime.now());
        long minutes = duration.toMinutes();
        if (minutes > MINUTES_TO_WAIT) {
          LOGGER.debug("minutes > MINUTES_TO_WAIT (remove login) " + failedLoginCount);
          failedLogins.remove(login); // start from zero
        } else {
          LOGGER.debug("failedLoginCount <= MAX_FAILED_LOGINS " + failedLoginCount);
          failedLogins.compute(
              login ,
              (s , faildPair) -> new Pair<>(LocalDateTime.now() , failedLoginCount + 1));
          return false;
        }
      } else {
        LOGGER.debug("failedLoginCount => " + login + " - " + failedLoginCount);
      }
    }

    //TODO Demo InMemory
    if(login != null && password != null && checkUserPassword(login, password)){
      failedLogins.remove(login);
      return true;
    } else {
      LOGGER.debug("login failed " + login);
      failedLogins.putIfAbsent(login , new Pair<>(LocalDateTime.now() , 0));
      failedLogins.compute(
          login ,
          (s , oldPair) -> new Pair<>(LocalDateTime.now() , oldPair.getT2() + 1));
      return false;
    }
  }

  private boolean checkUserPassword(String login , String password) {
    if (login.equals("sven") && password.equals("sven")) return true;
    if (login.equals("admin") && password.equals("admin")) return true;
    return false;
  }
}

redpajama_set_name: RedPajamaGithub


2016? Strange days indeed. I'm taking the rest of the year off so happy holidays to everyone and see you in 2017.
BTW, have I ever told you that I have to endure Southern Rail most days. This was East Croydon this morning.* * Not 100% true.
"Where is the wisdom we have lost in knowledge? Where is the knowledge we have lost in information?" – T.S. Eliot. (and that was before Facebook and Twitter).
Me on Instagram? Surely not!


text:
Come Along For A Wild Ride
Filled with quirkiness and a lot of fun, author P.J. Morse's Clancy Parker Mysteries gives us Clancy Parker, a female heroine with an awesome rock n' roll job and an adventurous life as a detective. Enjoy!
Plymouth Rock & Roll (Clancy Parker Mysteries Book 3)
P.J. Morse
Genre: Mystery | Women's Fiction | Humor & Satire
In Plymouth Rock & Roll, guitarist Clancy Parker can't wait to play a major hometown gig in Massachusetts, but first she must track down a rock star who is running amok. Clancy's ex-boyfriend, grunge icon Patrick Price, needs a big favor. Justin Hollander, the frontman for Patrick's new supergroup, has gone AWOL after biting a police officer, and Patrick needs to find him so they can headline the New Pilgrim rock festival. If Clancy can corral Justin, she has a chance at reuniting with her ex and maybe even getting publicity for her band, the Marquee Idols. As this job gets more high-profile by the minute, Clancy soon realizes she might achieve the fame she's dreamed of, only she might not be alive long enough to enjoy it.
Heavy Mental (Clancy Parker Mysteries Book 1)
A musician's gotta eat, which is why rock guitarist Clancy Parker takes on side gigs as a private eye. When she gets a new case involving a stolen necklace, Clancy's thrilled at the prospect of easy money. The job turns out to be anything but. Soon enough, Clancy must dodge threats from disgruntled secretaries, unhinged society matrons and rampaging ice cream trucks. The only person who can provide answers about the necklace is her client's sexy psychiatrist, but Clancy's budding crush on him only leads to more trouble. Eventually, Clancy must rely on all of her contacts — her stoner bandmates, her Socialist landlord, and her yoga-loving, flask-toting mother — to stop the thief from turning into a killer.
Click here to get this book for $0.99
Exile on Slain Street (Clancy Parker Mysteries Book 2)
In the comic mystery Exile on Slain Street, undercover detective Clancy Parker must find the killer on the set of a reality TV dating show before she gets eliminated — permanently. Clancy thought she'd been hired to protect the show's star, grunge-rock guitar god Patrick Price, from a stalker, but she quickly realizes she's dealing with a clever murderer whose arsenal includes booby-trapped stripper poles and sabotaged stretch Hummers. As members of the cast and production team are killed one by one, Clancy finds herself with few allies. She's at the mercy of a nosy camera crew and, even worse, reality show contestants who will do anything for fame. However, Clancy is the right woman for this challenge. She plays guitar for a band, and she fancies herself a rock 'n' roll detective, like Kinky Friedman, only a whole lot prettier. With her music background, Patrick Price can't resist her, but the attentions of a horny rock star threaten to distract her from her original purpose, which is to save her client's life.
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