Wednesday News: The Reputation of tattoos, LibraryThing’s security breach, Adobe’s DRM (again), and Duke Ellington’s ‘compiling”
The story – that tattooing has “entered the mainstream” – is just one of a number of tattoo tropes recycled relentlessly over the decades, suggests Dr Matt Lodder, art historian and tattoo expert at the University of Essex.
Everybody seems to be getting tattooed, should we not be concerned?
Surprise at women, the young or the old getting a tattoo
The pain during a tattoo
The issue of regret at having a tattoo
All evidence points to this being an email-hacking attack. We have every reason to believe no other LibraryThing data was taken, not even user names. The intent was probably to grab the emails for spam, and break the password hashes, if possible. When broken, the passwords could be used against members who used the same password for their email, or email-based services, as they used on LibraryThing. Using the same password across many services is bad practice, but not uncommon. No financial data could have been taken. We do not get or store credit card numbers or any other financial information.
–The LibraryThing Blog
After receiving feedback from customers and webinar attendees, Adobe has revised the migration timetable for customers. “Adobe does not plan to stop support for ACS 4 or RMSDK 9. ACS 5 books will be delivered to the older RMSDK 9 based readers”, according to Shameer Ayyappan, Senior Product Manager at Adobe. “We will let our resellers and publishers decide when they wish to set the DRM flag on ACS 5, thus enforcing the need for RMSDK 10 based readers.”
–The Digital Reader
In the altogether fantastic Duke: A Life of Duke Ellington (public library) — one of the best biographies and memoirs of 2013 — Terry Teachout reveals that for the beloved composer, who was already a man of curious paradoxes, this creative duality was as palpable as the line between plagiarism and originality was blurred. Ellington, it turns out, made a regular habit of “borrowing” melodic fragments composed by the soloists in his famed orchestra, then transforming them into hit songs — without credit, creative or financial, to the originators