This website uses cookies to ensure you get the best experience on our website. Bustle is an online American women's magazine founded in August by Bryan Goldberg. It positions news and politics alongside articles about beauty, celebrities, and fashion trends. By September , the website had 50 million monthly readers. JR Thorpe has been on the lifestyle beat for Bustle for five years, and writes about science, feminism, women's health, queer issues and history, occasionally all at the same time. Her journalism has also been published by Quartz, Healthline, Autostraddle, Business Insider and elsewhere. She currently lives in Ireland, collects vintage ballgowns, and has had blue hair for 15 years. She's also an award-winning librettist and lyricist who's been profiled by The Guardian and had work performed in Westminster Abbey and on BBC Radio 4. She just finished a novel, and has no idea which of her hustles is the 'side' one any more. Content Writer and Producer at Multiamory. Dedeker is a relationship coach, writer, professional belly dancer, traveling nomad, model, and an advocate for polyamory and non-traditional relationships. She has been consulted as a polyamory expert for Newsweek, Cosmopolitan, Glamour, and many other news and media outlets. She also starred in the FOX television show Utopia. You can contact Dedeker at dedeker multiamory. Writer at Bustle. Kristine Fellizar is a lifestyle writer at Bustle, where she covers all things related to sex, dating , and relationships — from dating how to's to zodiac compatibility.
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She also writes about health and wellness. Co, among others. Before becoming a writer, she interned at various entertainment companies including Fox Broadcasting Company, FX Networks, and Nickelodeon. Source: bustle. Got it! Save As Favorite. Was This Organization Helpful? Yes No. Bustle Magazine. Women's Health. Source: Wikipedia. Where can I find this organization? Official Site. People at Bustle Magazine.Jr Thorpe M. Source: Bustle. Dedeker Winston. Multiamory and Bustle Magazine. Kristine Fellizar. More Resources from Bustle Magazine. Disclaimer: The organization and artwork above are property of Bustle Magazine who is not affiliated with CredibleMind, Inc. Not many startups are able to say that these days, particularly as the doom and gloom of a potential market turn sets in. Over the past few years, it's been relatively easy for startups to raise big piles of cash on the promise that someday, they'll figure out business models. But some of those once-promising companies have already begun to go bust, and investors have become much more cautious with their capital. That's not the mood right now. Instead the message is, 'Keep chugging along. Goldberg says the secret to attracting VCs in a more conservative market is simple: show them the revenue. That's thanks in part to Bustle's advertising revenue beginning to kick in. Since its launch in , Bustle has grown to 45 million global uniques 32 million in the US, according to Comscore.
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In November it launched a sister site, Romper, which now has 3. The top traffic referrers for Bustle are split evenly between Google and Facebook, with Pinterest being the third largest referrer. A lot of that money is expected to help the sites become digital video powerhouses that can start stealing away big ad dollars from traditional television networks. Goldberg, however, wanted to proceed with caution both in terms of its funding and its video efforts. And our revenue is growing at a high rate right now As for digital video efforts, Goldberg says Bustle is putting out a few clips per week but doesn't want the team to grow too quickly. First, he wants to see how Facebook's and Youtube's video platforms evolve. I wish them the best of luck with that bet," he says. The round was led by Saban Capital. Times Internet Limited. All rights reserved. For reprint rights. Times Syndication Service. Home Notifications Newsletters Next Share.
Business Tech Markets Reviews. Alyson Shontell. Complimentary Tech Event. Transform talent with learning that works Capability development is critical for businesses who want to push the envelope of innovation. Discover how business leaders are strategizing around building talent capabilities and empowering employee transformation. Know More. Bustle Bustlers hustlin' in the Manhattan headquarters. Sign up for a weekly brief collating many news items into one untangled thought delivered straight to your mailbox. Email address. Popular on BI. Latest Stories. Trending News. Buying Guides. The Pirate Bay has been down for over 24 hours. A Deliveroo bag caused a major London street to a grind to a standstill after police thought it was a bomb. After hours of getting your swipe on, you finally match with a person you could really see yourself dating. They've got bedroom eyes that look like they could make your clothes vanish into a cloud of smoke. But not so fast, because sometimes, trouble can come even in the most attractive of packages.
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That being said, it's always a good idea to watch out for red flags in a dating app conversation before you meet-up in person. There's no need to conduct a full-on background check before you grab coffee unless you find something ultra suspicious in your pre-date Googling , but there are some giveaways that a new hottie isn't all they're cracked up to be. When you think about all of the horror stories of deception that have stemmed from the quest to find love on the internet, many of us are pretty cautious to begin with. But noticing red flags isn't always about avoiding the worst case scenario. Rather, being observant can simply keep you from wasting your time on people who aren't looking for the same things you're looking for. If you notice any of the following things while messaging back and forth with a match, you may have a troll on your hands. We all get it: Life can be very hectic. In the early stages of chatting someone up, it's totally normal for there to be some dips in the convo. But if your match is frequently bailing in the middle of a conversation, without so much as a "Hey, gotta run. Talk soon! This type of wishy-washiness is likely to continue, if not get worse as time goes on, because behavior like this early on usually means their interest level isn't the highest. If you just started messaging with a match a few days ago and you get a message out of the blue that was clearly meant for someone else, it should definitely raise some questions. If they suddenly refer to you with a pet name they've never used before, seem way too familiar, or even worse, reference something that straight up never happened, then you might have a player on your hands. And while there's no shame in dating around, if this person is careless enough to be texting the wrong things to the wrong people, then they are probably not worth your time. I will never understand why not getting an immediate response to a message leads some people to believe that the solution is to keep sending messages constantly.If you set your phone down during a gym run or work spiral, and you check your phone after, only to find 20 consecutive messages from the person you've been chatting with for a day or two, then it's time to run, or at least to be upfront with them about their behavior. If they are already acting this way, just imagine how much they'll be blowing up your phone once you've been on a couple dates. I'm pretty sure the whole point of messaging someone on an app is to see if you both have some shared interests or some level of compatibility before you invest a lot of time and energy into a few dates. This means you both should be getting to know at least a tiny bit about each other's personal lives. Obviously, you don't want to talk about too much before a first date so you still leave some topics to talk about , but you can still cover some of the basics: where they're from, their hobbies, what neighborhood they live in, etc. However, if they avoid divulging even small things about their personal life, it could be that they have something to hide. At one point or another, we've probably all been caught in the grips of horniness and been a bit more forward than normal. We're human; it happens. But if your match continuously makes explicit or sexual comments every time you chat — and you're not into it — then you may want to show them the door. By now, most people know that sending unsolicited pics and anything too brazen is a no-go in the early stages, especially if you've yet to meet this person.
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Of course, there are always exceptions to these rules, and just because someone is acting a little sus at first doesn't necessarily mean that they are, in fact, a sketchy person. However, the initial messaging stage is way too soon for the cracks in their facade to be showing, if you ask me. Search Close. Emily Dickinson In this poem, Dickinson writes about the brief, busy, suspended period of time between the death of a loved one and the private grief that follows. It is during this time that the bereaved must busy themselves with mundane, or ordinary, tasks in order to get through the experience without emotional collapse. Though it may seem absurd to clean and straighten a house where a loved one has passed away the night before, Dickinson describes this behavior almost as if it were a ceremonial rite. On a practical level, these activities are necessary because friends and neighbors will come calling to the house to pay their last respects to the deceased and they will be comforted by cleanliness and order. On a spiritual level, these activities are cathartic, or emotionally cleansing, because they allow the bereaved some time to prepare themselves for the real work: living the rest of their lives without the loved one. Dickinson was born in Amherst, Massachusetts, in and lived there all her life. Her grandfather was the founder of Amherst College , and her father Edward Dickinson was a lawyer who served as the treasurer of the college. He also held various. Her mother Emily Norcross Dickinson was a quiet and frail woman. Dickinson went to primary school for four years and then attended Amherst Academy from to before spending a year at Mount Holyoke Female Seminary.Her education was strongly influenced by Puritan religious beliefs, but Dickinson did not accept the teachings of the Unitarian church attended by her family and remained agnostic throughout her life. Following the completion of her education, Dickinson lived in the family home with her parents and younger sister Lavinia, while her elder brother Austin and his wife Susan lived next door. She began writing verse at an early age, practicing her craft by rewriting poems she found in books, magazines, and newspapers. During a trip to Philadelphia in the early s, Dickinson fell in love with a married minister, the Reverend Charles Wadsworth; her disappointment in love may have brought about her subsequent withdrawal from society. Dickinson experienced an emotional crisis of an undetermined nature in the early s. Her traumatized state of mind is believed to have inspired her to write prolifically: in alone she is thought to have composed over three hundred poems. In that same year, Dickinson initiated a correspondence with Thomas Wentworth Higginson , the literary editor of the Atlantic Monthly magazine. Over the years Dickinson sent nearly one hundred of her poems for his criticism, and he became a sympathetic adviser and confidant, but he never published any of her poems. Dickinson and her sister provided her constant care until her death in Indeed, the aftermath, or consequences, of death are almost always harsh and violent. It can mean serious, or it can mean sacred and ceremonial. In these lines, the spiritual and the practical are intertwined. In these lovely lines, Dickinson uses housekeeping as a metaphor for the process of letting go of the dead.
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The heart, broken to pieces by grief, must be swept up and hidden from sight. Love, like memory, must be stored in a safe place. Order must be created to counteract the chaos of death. On a more literal level, it is true that many people, when they are in crisis, turn to thoughtless tasks like housework in order to maintain control of the situation. The house must be straightened up in order for the family of the deceased to receive visitors, but every home is full of evidence left behind by the person who has died. Others hide their love away out of a profound sense of loyalty to the deceased, swearing that they live only with the memory of their lost love until the grave. Both of these reactions, though somewhat irrational, are an important part of the process of grief for many people. Many of her male poetic contemporaries are equally concerned with death, but have not been thought to be so eccentric on account of it. First, as the descendent of Calvinists Dickinson grew up in a culture that viewed mortal life as a temporary interlude before the moment of death and judgement, and, one hopes, ascension to heaven. People died of common illnesses and in childbirth with a frequency that is hard for modern readers to imagine. She lost three young friends growing up and was greatly affected by their deaths. In the poem she describes the noticeable escalation of activity, the bustle, that follows death. In the ninteenth century these activities would include preparing the corpse for burial, packing up belongings, and preparing for guests. She had some household help with the chores, but she still devoted more time than contemporary readers can imagine to her domestic duties. Her letters often reveal an impatience with and a distaste for the routines of housework, but her poems show how she came to see this kind.
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Instead it is seasonal work with cyclical implications, the careful folding up and putting aside of summer or winter clothes that will not be used again until a new year has begun. In other words, sweeping up and putting away provides an emotional outlet for the speaker and gives her the chance to contemplate the possibility of an afterlife. She would know from years of experience that what is stored away is usually brought back out in another season. This pattern—two lines of six syllables, followed by one of eight, then one of six—is called the short meter. It is one of the English hymn meters familiar to her from childhood. In the 17th and 18th centuries, common English nouns and other words were often capitalized. She punctuates the poem by separating the two quatrains with a dash, her signature mark. Here, the dashes seem to divide the poem between a general, universal topic and specific, personal examples. The basic facts are indisputable: she lived almost her entire life in one house, she never married nor seriously entertained any proposals; and she left behind more than 1, poems hand-bound and sewn. The myth of the lonely spinster whose delicate nature poems emerged from her broken heart is a modern-day fiction, however.
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In order to separate Dickinson the artist from Dickinson the myth, it is important to understand why she would have chosen the life she did, given what was available to her at the time. As the female child in an old and very prominent family with a great many connections, Dickinson was groomed and educated to assume the roles of wife and mother, and would have had certain civic responsibilities as well. At the very least, she would have raised and educated her children, run the household and supervise the staff, and support her husband in his professional life. In the nineteenth century, however, these roles were much more onerous than they seem to readers now. She would have had almost no control over when and how many children to bear and would risk death every time she delivered. She would have spent part of every day dressing to go out and then calling on the old and sick, visiting with members of the. Even if she could have found the time and the solitude to read, contemplate, and write, her work would likely have been seen as completely unseemly, even downright dangerous, for a woman. Under the circumstances it makes sense that a young woman with towering artistic ambitions, like Dickinson, would chose solitude. She was fortunate that she had some money of her own and did not have to marry for support or protection, which would have been true for a woman without her social status. Dickinson gave up the chance to marry and have a family; in exchange, she had the independence, time, and solitude to devote herself to her writing. She was not an isolated and heartbroken eccentric, having enjoyed many correspondents and a dear relationship with her sister-in-law. Earlier critics have suggested that she published so few of her poems while she was alive because she had no intention of ever releasing them. More recent scholarship suggests that Dickinson regarded herself as a serious poet and imagined an audience for her work beyond her primary reader, who was her sister-in-law. Dickinson was an avid reader and was well aware of the kinds of poetry popular in her day.
She also knew, therefore, how little hers resembled it. Popular poetry of the time was sentimental and genteel. Not even the radical transcendentalists Ralph Waldo Emerson , Henry David Thoreau , and others produced much poetry that looked or sounded new. In contrast, W. Howells, writing in his W. Madsen Hardy has a doctorate in English literature and is a freelance writer and editor. At first glance, the poem may seem quite simple—a description of how, on the morning after a death, the living begin to confront the love they still feel for the departed. However, it uses the unconventional metaphor of housework to describe the process of mourning. Dickinson was singularly fascinated with death, both the experience of dying itself, and how loss is experienced among the living. Death is one of the most prominent themes in her large body of work. But it also reflects the fact that death was far more closely woven into the texture of everyday life in the mid-nineteenth-century when Dickinson wrote than it is today. Because antibiotics had not yet been discovered, people frequently died from sicknesses that we now consider mild. Death in childbirth and early childhood were common. Furthermore, less medical intervention was available at each stage of physical decline. Death was an experience that was closer at hand for Dickinson and her contemporaries than it is for most Americans today—an experience associated with, rather than divorced from, the intimate setting of home.
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