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Today NPR is streaming the new Youth Lagoon album and tomorrow he does on tour, just going to keep it short, what a great record, enjoy.

Through Mind and Back
Attic Doctor
The Bath
Pelican Man
Sleep Paralysis
Third Dystopia
Raspberry Cane

02-26 Missoula, MT – Badlander
02-27 Bozeman, MT – Filling Station
02-28 Salt Lake City, UT – Kilby Court
03-01 Denver, CO – Larimer Lounge
03-06 New York, NY – Bowery Ballroom
03-13-16 Austin, TX – SXSW
03-22 Boise, ID – Treefort Music Fest
04-12 Indio, CA – Coachella
04-19 Indio, CA – Coachella
04-21 Phoenix, AZ – Crescent Ballroom
04-22 Tucson, AZ – Club Congress
04-24 Austin, TX – Mohawk
04-25 Dallas, TX – The Loft
04-26 Houston, TX – Fitzgerald’s
04-27 New Orleans, LA – One Eyed Jacks
04-28 Birmingham, AL – The Bottletree
04-30 Orlando, FL – The Social
05-01 Atlanta, GA – Terminal West
05-02 Nashville, TN – Mercy Lounge
05-03 Asheville, NC – The Grey Eagle
05-04 Carrboro, NC – Cat’s Cradle
05-07 Northampton, MA – Pearl St.
05-10 Philadelphia, PA – Union Transfer
05-11 Columbia, MD – Sweet Life Festival
05-13 Toronto, Ontario – Great Hall
05-14 Columbus, OH – A&R Bar
05-15 Chicago, IL – Metro
05-16 Madison, WI – Majestic Theater
05-17 Minneapolis, MN – Fine Line
05-22 Portland, OR – Wonder Ballroom
05-23 Vancouver, British Columbia – Venue
05-24 Gorge, WA – Sasquatch! Fest
06-05 Brooklyn, NY – Barclays Center *
* with the National

Youth Lagoon’s second album, Wondrous Bughouse, is one of the most arresting headphone records you’ll hear this year. Trevor Powers, the band’s sole member, layers strange but alluring synth textures under quirky melodies and simple pop beats, in the process creating an expansive and endlessly engrossing world of sonic curiosities.

As with Youth Lagoon’s 2011 debut, The Year of Hibernation, the songs on Wondrous Bughouse are moody but not melancholy. Thematically, Powers finds himself in an existential spiral, as he asks grand questions about mortality, the spiritual world and his own mental state — which he describes as “hyperactive.” Weighty subjects ripe for pensive introspection, sure, but the music is uplifting, if a bit dysphoric, like an awkward hug for all that is light and beautiful.

Powers, who says he controls his busy mind with music, offers no illuminating epiphanies or profound discoveries on Wondrous Bughouse, out March 5; he says he hasn’t had any. But the songs allow him to assume the identity of Youth Lagoon and sort through all the emotional and mental baggage he, like so many, carries with him everywhere. The album opens a window into our odd little world, with the understanding that life is a baffling mystery, but also a wonderful ride.

via NPR

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One spring day in 2010, a hacker named Kevin Finisterre knew he had hit the jackpot. A network he had been casing finally broadcast the live video and audio feed of a police cruiser belonging to a US-based municipal government. His jaw dropped as a computer in his home office in Columbus, Ohio showed the vehicle—with flashing blue lights on and siren blaring—charging down a road of the unnamed city.

A burly 31-year-old with glasses and pork-chop sideburns, Finisterre has spent more than a decade applying his combination of street smarts and technical skills to pierce digital fortresses. For instance, he once accessed the work account of an engineer for a large utility company. Finisterre used a pilfered profile from to trick the engineer into thinking he was interacting with a flirtatious 26-year-old woman, until the engineer finally coughed up enough personal information to make an attack on his corporate account successful.

It's not a bad way to earn a living.

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Jason Ross Thrillist JackThreads

In 2010, Ohio-based JackThreads was acquired by the cool guy's site, Thrillist, for an undisclosed amount.

JackThreads is a discount clothing site for hipsters.

When Thrillist acquired JackThreads it generated about $5 million in annual revenue.

Today JackThreads pulls in $50 million. Thrillist co-founder Ben Lerer tells us JackThreads generates more for Thrillist in one day than it did in an entire month in 2010.  Members grew three-fold; from 500,000 to 1.8 million.

We asked JackThreads co-founder Jason Ross how he quintupled growth in 1.5 years. It took a lot of hustling.

Business Insider: Tell us how JackThreads was founded and about the early days.

Jason Ross: I graduated from Ohio State in Finance in 2003. I did that for two years and took some time off to search for a high growth business opportunity and something I was passionate about.

I grew up a discount shopper who was into having cool shit.  I realized the brands I cared about weren't offered at an off-price for guys like me.  Cool brands had no place to liquidate their male merchandise, but female brands did.

I saw the off-price model working in Europe for Vente Privee. So I got on the phone and started cold calling my favorite brands from Columbus, Ohio in 2006.

I spent the next two and a half years in my house trying to figure out how not to go broke, how to get someone to work with me, and then how to build an e-commerce platform.

I traveled to trade shows, met with brands, came up to New York and built relationships with suppliers while working with a local developer in Columbus. At night I worked for bars and for my uncle. I did anything I could not to go into too much debt but I also tried not to get locked into a full-time job so I wouldn't have my days taken up.

You were bootstrapping against competitors like Gilt Groupe who had hundreds of millions in venture funding. How did JackThreads survive?

We launched in July 2008. Gilt had launched and I realized we were onto something, but being in Ohio and having never raised money we were up against significant competition.

I had to figure out a way to get on the map and grow quickly enough that nobody would take us out.  I had no money for a marketing budget so for the first twelve months I got on the phone and found as many online content communities as possible with a male audience.  I'd try and get publications to write about us.  Thrillist actually wrote about us pretty early on so that was the first time I saw the value of having our brand in front of their audience. Their users quickly signed up and invited their friends -- they were just a really engaged group of customers. From that point on I was calling every Thrillist editor trying to get our JackThreads story in every city's edition.

We grew to 35,000 members and the business started to slowly scale with a little bit of profit that I could reinvest into online customer acquisition.

How did the relationship with Thrillist and acquisition talks start?

Once I had money, Thrillist was the first place I turned to because we saw how valuable their audience was.  We started running advertisements in some of their editions.

I didn't have the budget to pay them a lot of money though, so I called their marketing department to propose a revenue share concept where they would feature us and instead of us paying for ads we would give them a cut. One month later I heard from Ben Lerer.

I don't know if the timing was just right or if it was me being persistent that got on his radar, but he and I connected and we hit it off.

Two other businesses were looking to acquire us and we had also been approached by a few different VCs.

Thrillist seemed like a strategic and cultural fit. On our two year anniversary we closed the deal with them.

How big (or small) was JackThreads when it was acquired by Thrillist?

We were 150,000 members with 8-10 full time employees.  I think revenue was in the single digit millions.

How big is the business now?

We are 65 full-time employees within Thrillist, hiring aggressively. We sign up 5 to 6,000 new members every day and have 1.8 million members total. We launched our mobile app recently and reached 150,000 downloads quickly.  We'll do over $50 million in revenue this year.

Why did JackThreads' business explode?

One of the obvious things is that Thrillist had an audience that was really engaged. I think also being able to plug into the infrastructure they had developed really helped. Thrillist had been around for 4-5 years and they had already gone through the growing pains we were experiencing. They had grown and scaled a business before, and that experience helped us avoid mistakes. We also opened an office in New York next to Thrillist which has given us a presence here for fashion brands.

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Stacy Kranitz

The Other

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My project engages with history, representation, biography, personal narrative, and otherness in the documentary tradition. Each year in Pennsylvania, 500 people come together to reenact the Battle of the Bulge. During the reenactment, I portray Leni Riefenstahl and behave with soldiers, as she would have. I am intrigued by the complex story of a woman with a problematic set of morals. My work aims to understand people beyond the constraints of good vs evil. I have inserted myself into the Nazi reenactor photographs to subvert the viewer’s instinct to dismiss these people as different from themselves. This allows me to reflect upon atrocity, delve into my own relationship with my Jewish heritage, and contemplate the camera’s ability to re-imagine history.

Much of our conception of history is based on images. Historical images have been filtered through media and propaganda. These images become history as generations pass. Images are the dominant force that shape the public imagination. My images of the reenactment are part of the deconstruction process by which images first represent and then replace history.

The next phase of this project will explore Riefenstahl’s life between 1962-1977 when she lived with the Nuba in Sudan. I will visit the same Nuba tribes to focus on the disjunction between her fetishized images and my own exploration of the Nuba’s complex modern reality. The Nuba were victims of genocide during a recent civil war and it has deeply impacted their culture. They were forcibly relocated to camps and Islamicized. Hundreds of thousands died from warfare and starvation.

My project asks how we live in a world where genocide takes place in continuum? It reflects on the history of the documentary tradition as it poses new ways of expressing identity in relation to ‘otherness’. This project deconstructs the notion of the photograph as document, its power as a tool of propaganda, as a witness to history and a call for change.



Stacy Kranitz studied film and photography at New York University. Her work focuses on the ways we express aggression and violence in our daily rituals, habits and pastimes. Additional themes in her work include the relationship between music and culture, the emotional growth of children and environmental racism. She is interested in the theoretical underpinnings that bind together the evolution of the documentary tradition. Her work looks to explore important social issues while commenting on this tradition and challenging its boundaries.

Her clients include Adbusters, Dwell, Elle, ESPN, Entertainment Weekly, Forbes, Fortune, Men’s Journal, Mother Jones, Metropolis, Newsweek, New York Times Magazine, People, Rolling Stone, Spin, Vice, Wall Street Journal and Wired.

She was awarded a Young Photographers Alliance Scholarship Award and also received a Story Project Grant from the California Council for the Humanities. She has shown her work at galleries in NY, CA, LA and FL.


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Stacy Kranitz

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