TV Is Finally Catching Up With Real Single Women

“UnREAL” joins a lengthy list of TV shows subverting the idea that for women, all narrative roads lead toward coupledom.
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Tech salaries in LA and Austin are catching up with Silicon Valley

Tech salaries in LA and Austin are catching up with Silicon ValleyA new tech salary report released by jobs site indicates that companies in tech hubs such as Los Angeles and Austin are quietly raising salaries to become more competitive.

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Books of The Times: Catching Up With Denis Johnson’s Star-Crossed Drifters

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Catching the hackers in the act

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Of Course Fidget Spinners Are Spontaneously Catching on Fire Now

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Catching Up With the Matriarch Behind Beyoncé and Solange

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Bryan Tanaka Confesses He’s ”Catching Some Hard Feelings” for Mariah Carey: ”It’s a Complicated Situation, She’s Engaged”

Mariah Carey, Bryan TanakaBryan Tanaka is opening up about his feelings for Mariah Carey!
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Meow! The Girls Question Avery’s “Intentions” With Travis in Catching Kelce Bonus Clip: Watch Now

Catching Kelce, AveryThe girls are getting a little catty on Catching Kelce.
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Did Travis Kelce & Veronica Have Sex?! The Girls Wonder if They Got ”Naked” During VIP Date in Catching Kelce Bonus Clip

Catching Kelce 106Did Travis Kelce and Veronica actually have sex during their intimate night alone together?! That’s what the other Catching Kelce contestants want to know.
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Perfect Soldier: Catching Colton

Perfect Soldier: Catching Colton

Adults Only – Explicit Scenes – Hot Hot Hot Sex featuring a confident BBW and a Sexy Soldier – Ages 18+ Cat has given up on love, too busying studying for school and working as a bartender. Colt is a soldier home on leave, a sexy young man with a taste for curvy women. Both are looking for a good time, but neither knows what will happen when a one-night stand turns into something so much more. Perfect Soldier: Catching Colton is the first part of a multi-part series following Catherine “Cat” Simmons and Colton “Colt” Bradley. Stay tuned to follow the rest of their story as it unfolds! Excerpt Truth be told, I hadn’t quite gotten used to being back yet. And when I say it, I mean everything: civilian clothes, civilian cars, no drills, paved American streets, Oak trees and houses with perfectly-watered, green grass in their front lawns. It was strange being back in the U.S. If you spend too much time in the desert, it can be like that. And the women, I wasn’t used to them either. I hadn’t been with one in a long time, or even looked at one really. Since coming back to America, I got that particular look from women a lot, the familiar smile and the quick checkout, a subtle hint that they were interested, if only on a totally primal level. I just sort of brushed it off. The idea of being with a woman was almost foreign to me, it’d been so long since I’d had time to even cultivate an interest in another person on that level. But things changed when I saw her in the bar earlier. Cat. I liked that named, it sounded feisty and wild. I could only imagine what she was like in bed. When I first saw her, my heart damn near broke. “Curves that could kill” was the only way to describe her. Full, gorgeous breasts, just the right amount of cleavage; a round, voluptuous ass that melded into her beautiful thighs, her jeans tight against her skin. I imagined what it might be like having her bounce that ass in front of me as I stroked inside her, and I felt myself starting to ge

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Stop Catching Foul Balls While Holding Your Babies, You Lunatics

Something has gone awry in baseball. Back in the proverbial day, we caught foul balls, gently placed a celebratory hand in the air, quietly sat down and then got back to eating our peanuts or whatever, like normal, civilized people.

But at some point, something changed. No longer is it enough to simply catch a foul ball. Nowadays, you need to catch it in a way that separates you from the crowd, that temporarily elevates you from mere baseball fan to something akin to viral legend.

Was it Sportscenter that did this? The Internet? The evolution of man? Obama? No one can say for sure, but the point is that it happened. People are catching baseballs with beers, and they’re catching them with popcorn buckets. They’re catching them bare-handed and and they catching them backhanded. They’re catching them and dancing and they’re catching them and prancing.

And you know what? That’s all fine and good. Catch your foul balls with whatever receptacle you want. After all, this is America. Nothing wrong with a little show-boating. But there’s one new aspect of this trend that has been creeping up on us for some time that we need to talk about, if only because’s it’s gained some recent steam.

We’re talking about grabbing foul balls while holding babies, people.





These aren’t the only examples we could find, either. There are so, so, so many of them. One baby catch? Fine. Two? Sure. Three? Now we all see what’s going on.

We get where you’re coming from, moms and dads. You’re cool parents with senses of coordination we can’t match. You love your child, but you also love the spotlight, and this is one of the few instances in which those two passions can be combined into a moment of you being you. Hell, if “we” were parents, “we’d” probably be right there next to you. Looks pretty fun to be honest. But we aren’t parents. We are without child. And that makes us the voice of reason in this particular situation.

So quite literally, we beg of you: Think of the children. It’s only a matter of time before an attempt at virality ends with a trip to the hospital and a national conversation about parenting. And as we all know, there is nothing worse than a national conversation about parenting. Don’t make it come to that.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Comedy – The Huffington Post
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Catching Crabs: A Family Affair

There is nothing I love more than hanging out and drinking with my family. It is my favorite thing. But drinking with my family on vacation takes it to a whole new level. There are 27 of us here right now. All the main players. Eleven adults. The rest are kids. It’s unfortunate for the other people who are also at this resort. I imagine they sit in their rooms shaking their heads at the unbelievably horrible luck they have for booking their vacation the exact same week our family is here. Sucks to be them. But this is how we do.

Everything is better on vacation. Even hangovers. I woke up this morning with my head pounding, not even sure of where I was. A typical Tuesday. But then I remembered I was on vacation and suddenly my head didn’t hurt that much. Or perhaps it was all the pills I downed finally kicking in. Either way, it was a great feeling. Like when you’re a kid and you wake up dreading having to go to school only to realize it’s Saturday. It’s such an amazing realization. Just like being on vacay.

There’s not a care in the world on vacation. After ten hours of driving, my cousin’s car broke down. So we all stopped with them and waited to hear it was the transmission. No one wants to hear that news, but it’s way easier to hear when you’re on vacation.

So naturally, they just left the car in that town, sent the kids on with my husband Beau and I and rented a car and carried on. Because we’re on freaking vacation and nothing is going to ruin our good time. It’s a completely different mentality. We had 7 kids in our car and I had to sit on the floor so that they could all be somewhat buckled, because I take car safety very seriously. But who the hell cares? We’re on vacation.

Last night we came to the conclusion that we drove 17 hours to sit around a kitchen table and have drinks together. Just like we do at home. All the time. But it’s just way more fun when you’re on vacation.

The kids were everywhere. Up till all hours of the night. Passing out everywhere, just like the adults. We laughed so hard at all the stories we’ve all heard a million times before, but loved hearing again. There was singing. There was dancing. There were naps taken. It just doesn’t get more fun than this. It’s a lot like college. We’re all drinking in the dorms together. We’re all drinking like we’re 20 years old. It’s the best.

Earlier today I was trying to jam a 20 pound bag of ice into the freezer. After I carried it all the way back from the car. Something that would normally annoy me. But not here. As I was trying to stuff it in there, a bottle of vodka fell from the top of the fridge. The cap broke off and vodka spilled out. No biggie. I just licked it all up and went on with my day. Because I’m on vacation.


The kids are all having a blast. Their favorite thing to do here is catch crabs. You heard me. You cannot hear them say this without laughing out loud. I want to catch crabs! He got crabs and I didn’t! It’s not fair! I want crabs, too! I mean the jokes write themselves. They’re all related and keep saying how they loving catching crabs together.

We had to make a new rule. No crabs in the house. One of the darlings brought one in and let it loose. I didn’t care for that. And I made the children aware of my feelings. But in all honesty, I had so much vodka in my system at the time, that I wouldn’t have even noticed if the thing came up and bit me.

I can’t wait until they go back to school and tell their teachers they got to sleep in the same bed as their cousins and caught crabs with them. So that’s the way it is in their family. That’s vacation. Even catching crabs is awesome.

Eileen O’Connor is an amazingly talented woman, wife and mother living on the mean streets of Chicago’s south side with her equally adorable family.

Check out her blog No Wire Hangers, Ever

Follow her on Facebook

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Comedy – The Huffington Post
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The Engagement Ring Eddie Redmayne Gave Hannah Bagshawe, and the British Ring Trend That’s Catching On

Eddie Redmayne just stepped out for The Theory of Everything premiere in London with fiancee Hannah Bagshawe—and her new engagement ring. (I would hate that suit on anyone else, but he looks insanely dapper, no?)…

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Zeke and Lily (Book Six): Dream Catching

Zeke and Lily (Book Six): Dream Catching

Winter in Lancaster County is over. well almost. Maybe one more snowstorm yet to deal with. Zeke couldn’t be happier to see the cold weather leave while Lily could stand a few more opportunities to make snow angels before spring arrives. So much is happening as Lily’s sister enters the end of her pregnancy. The couples which Lily and Zeke have befriended are all married and making plans to expand their own families soon. Zeke and Lily are just a few months from their wedding day. As Lily’s illness remains so does the concern for her health. Zeke splits his time between New York City (attending meetings with a publication company for his book) and Lancaster (tending to Lily’s frail condition while getting ready for marriage).Marriages, pregnancies, health – all issues on Lily’s mind that culminate into nightmares she begins to have about people she loves being hurt or killed. The nightmares intensify and after a few deja vu moments prove her nightmares to be premonitions, she seeks help from a psychologist before she loses her mind. Her greatest fear is losing every good thing in her life – a scenario which has played out many times before in her life, leaving her heart broken and empty. When her nightmares begin to include Zeke getting harmed, she comes to the brink of a nervous breakdown. But the ever-patient Zeke – the Daddy in her life, walks her through each trial as it arises. She comes to appreciate the things she may have been overlooking all along. Will a half moon amulet from a trinket shop bring Zeke a protection he never knew he needed?Will Lily’s magic touch be strong enough when she needs it to be the most?Follow Zeke and Lily (and Pretzel), Grant and Keira (and Nittany), Billy and Taylor (and baby on the way), a dragon-tattooed man, Mr. Woody and Erica as the catching of dreams leads to a final chapter that couldn’t be seen coming.

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Dear Governor Cuomo: A Conversation with Natalie Merchant, Plus Catching Up with Freda Payne


A Conversation with Natalie Merchant

Mike Ragogna: Natalie, what have you been up to lately beyond the new album?

Natalie Merchant: I’ve become extremely active in the fight against hydraulic fracking in New York. Where are you based?

MR: Iowa, though I grew up in New York, so this concerns me as well.

NM: Well, New York is sitting on the Marcellus Shale, which has huge reserves of natural gas, but the only way to extract them is by exploding the bedrock a mile or two under the surface and pulling the gas up using hundreds of millions of gallons of freshwater which will then be contaminated. It’s also extremely radioactive down there. We’re watching what’s happened in other states with the contamination of aquifers and the devastation of previously rural areas that are now highly industrialized. There’s also quite a bit of contamination of the air that occurs with hydraulic fracturing. Anyway, I’ve been involved in that, and I made a film called Dear Governor Cuomo, because of the moratorium that was put in place by Governor Patterson before Governor Cuomo–which he has upheld.

MR: Natalie, do you think he’s weighing the economics heavily and that’s what’s affecting things?

NM: If he’s doing it for short-term gain, he would have opened the flood gates long ago. I think it’s politically very contentious because there’s a massive grassroots movement against this. Actually, we had a big victory last week, the court of appeals in New York ruled that all of the village, town, and city bans that citizen groups have put in place will be upheld. It’s a huge blow to the gas industry. Anyway, we’re just saying that it’s an extreme form of extraction that’s extremely dangerous, and we want an independent health study that tests what the impacts on the environment and health of not just humans but wildlife would be and what sort of impact it would have on our natural resources. Then we can weigh out whether it’s worth that risk. That’s happening in Colorado and North Dakota and Texas and Ohio and Pennsylvania and West Virginia, there are these thirty-six other states where they’re fracking and there’s massive devastation of prairie. We’re also questioning whether it’s wise to make that a major export. We’re talking about energy independence. We can supply for our own needs, but if we’re talking about selling that gas to other countries we’ll need to get three to five times the amount. Anyway, that’s one thing I’ve been doing. I’ve also been involved in local activism in the domestic violence advocacy groups, and made another film called SHELTER. I’ve gotten into this new form of protest that is multimedia. We gather together the community activists, and in the case of Dear Governor Cuomo, we have scientists and victims from other states who have had their water contaminated, and then we put together a program with music that is relevant to the subject we’re trying to educate people about and put together an evening where we alternate between appealing to the heart and appealing to the mind, left brain, right brain. People take in the information in a completely different way than if it was given by a speaker. We also have visuals, photographs, film, and we film the whole event so that it can be a tool for activists between the organizing.

That’s what we did with the domestic violence issues, too. I got to go to some district attorneys’ offices in the two neighboring counties where I live in the Hudson Valley and we asked the prosecutors for statistics. We wanted to quantify the problem of domestic violence in our area because we felt it was a crisis but we couldn’t really sound the alarm without telling people how large the crisis was. The statistics had never been gathered in one place before, so we actually did a service to the domestic violence community by gathering the statistics and publicizing them. We found out there have been thirty-seven homicides over the past fifteen years related to domestic violence. They involved a child of three months all the way to a woman who was seventy-eight years old. People brutally murdered. And this was in this rural, bucolic environment. Then we started to look at how many domestic incident reports had been filed that year and the year before. There were tens of thousands. Then we checked how many arrests, how many convictions. When we actually did the event I decided that we as a community hadn’t acknowledged properly the deaths of these people, so I took all the names of the victims and I went back into the newspaper and I looked at the way their deaths had been reported. There was more written about a local football match than the brutal murder of two women. I decided that we have to memorialize these women.

MR: What was the commonality? When you looked at all the information, were there any conclusions that you came to?

NM: The conclusion I came to is that we need to have a community response. What was interesting was that I had this bias of, “I live in the country, this happens in the city.” It was not evenly distributed, but it was actually weighted a bit heavier in the countryside. There’s more domestic violence in the countryside, but the homicides are evenly distributed in both the urban and rural communities. That was jarring to me. But we took the thirty-seven names and we had a string quartet play a requiem, a piece that I had written, and we projected their names. It was an incredibly powerful moment for our community, to acknowledge that this was happening and to mourn these people. Anyway, I did that, and then I also did the Leave Your Sleep project which was a massive five-year project with a hundred and thirty musicians. I wrote a short book about the poets and spent a whole year talking to defendants of the poets and their estates and their executors, going to different institutions, finding photographs. A lot of those poets are so obscure there are no biographies–probably four of them had biographies. That was a really fun, engaging project that I could work on while having a small child.

MR: That approach was very original.

NM: It was interesting, I finished the project and I took it Nonesuch and Robert Hurwitz who’s been running Nonesuch for thirty years said it was the most original project he’d ever seen. I took that as a huge compliment coming from him. He’s worked with Steve Reich and Philip Glass for years.


MR: Let’s get to your latest album. It’s simply titled Natalie Merchant. You could have taken that approach before, why now?

NM: I wanted to make a distinction, I wanted to set this album apart from previously, and the album that preceded it, The House Carpenter’s Daughter, which was vocal music. I wanted to say, “This is my work.” That’s what I was trying to achieve through the self-title. It’s a piece of work that’s been in progress for probably fifteen years. I was focusing on having a family and my community activism and interpreting folk music and adapting other people’s words to music. I was also in a kind of journal-keeping fashion writing my own songs because it’s a compulsion. I have to do it. It is a kind of catharsis that comes from journal writing. So much happened in fifteen years, it’s a pretty sizeable piece of time. So much happened, not just in my private life but in the world. Wars began and ended. We as a global community recognized that we are seeing the impacts of our wanton ways on the climate, Hurricanes Katrina and Irene and Sandy. We’ve seen typhoons. This ongoing crisis of people being displaced by war and natural disaster, which I ended up writing about in the end. The UN figures–I’ve read 27.5 million people displaced by conflict. I’ve also read figures up to 40 million. It depends on what state those people are living in. Some people are living under tarps, some people have had to move to other countries to build their lives, but they still count as refugees and displaced people.

MR: Do you think there’s any solution?

NM: It would take a spiritual revolution. That’s what I’ve been praying for my whole life, that spiritual revolution. And it’s not recognition of one got or one creed. The spiritual revolution that I’m waiting for and I’m praying for is when we realize what a miracle it is that we even exist on this planet.

MR: My son and I have been watching the updated Cosmos series. In relation to the time and space of the universe, what a speck of a speck of a speck times a trillion and more each human being actually is.

NM: How very minute we are. We’re just misguided. Our brains are just large enough to completely undermine our whole existence. It’s tragedy on a scale that cannot be imagined. it just devastates me every day. We have scraped away topsoil that people in the arid regions of the world would lay down their lives for and covered it with tar. Just start with that. We don’t value what sustains us. We poison the water, we poison the air, we destroy the soil. It’s maddening. You know what’s even more maddening? To explain this to a child. I didn’t really consider that when I got pregnant that someday I would have to try to interpret the madness of my species.

MR: The hardest thing is when you try to raise them to be decent people and the world throws at them messages that are contradictory to that.

NM: And you hope that you’ve given them a strong enough foundation that they can be critical enough to say, “That’s wrong.”

MR: Yeah.

NM: That’s the goal of good parenting; to raise critical children who can look at the world with a strong base and a critical eye. And then you hope and pray. The other thing that I’ve really wanted to do is provide a protective environment for her long enough to have an authentic childhood. I think every child deserves that. It’s just heartbreaking that so few children get the opportunity. That protective coating that you put on your child, it seems like the whole world is conspiring to bust it open, with the types of film that are created and the books and the video games and the violence and wanton destruction that exists in the world. I’m just constantly shielding my child. I’m really thankful that I live in the country. When I take her to the city, we’re just assaulted by the imagery. I have no control.

MR: Do you see a spiritual renaissance happening to the planet?

NM: I think it’s happening on a tiny scale. When people say, “Are you optimistic or pessimistic?” I say, “I’m optimistic about individual transformation, but it’s the massive institutions that take so long to change.” They’re so inflexible. I’m pessimistic about that. What can we do about the stockpile of nuclear weapons in the world? What can we do about it? Nothing. What can we do about the carbon in the atmosphere at this point? There’s nothing we can do. What can we do about the great lakes? What can we do about the icebergs? This is going to a dark place, but that’s why I made a dark album. I just feel that people need consolation. If Billie Holiday had never recorded “Strange Fruit” 1939 would have been remembered as just the year that The Wizard Of Oz and Gone With The Wind were released and the Andrews Sisters had a number one hit about whatever, and we wouldn’t know that there were artists who saw the world for what it was, saw the dark of the world and were disturbed by it. Billie Holiday had the courage to make art about it.

MR: What advice do you have for new artists?

NM: I would just encourage them to dig deep into themselves, find their authentic heart and be vulnerable. Allow people to see that part of themselves, because that’s what people are going to respond to. I think that’s what’s going to be your lasting legacy. Think about that. What would you like to bring into the world. I think the most powerful thing you can put into the world is that part of yourself that’s felt so deeply.

MR: And that would probably not only be good for the art, but for the human as well.

NM: Mm-hmm. There are so many other aspects to a musician’s world these days, it started with the MTV business. Younger people are just more conscious of trends and branding. That kind of thing didn’t occur to us years ago. There weren’t that many platforms for it. You had a record cover and you had a poster, and that was it. Then came MTV and then came the internet. It’s fascinating and it’s fun to play with and there’s so much you can do with it if you have that capacity. But a lot of artists are just songwriters or singers or guitar players and that whole visual component and having to constantly promote yourself, that can be daunting.

MR: It sure can.

NM: I remember what it felt like, and it still feels like that. When you connect with another person over a piece of music that you both love… We were doing that on the tour bus the other night. My guitar player pulled out his guitar and we were singing songs for hours after we’d already played music for five hours between sound check and the show. We just love it, that feeling of connection and camaraderie, it’s so powerful. Everybody wants to feel like they’re included. That’s what music is about, to me. It’s inclusion. “I feel that. You feel that? We feel the same thing,” whether it’s feeling it with the artist or later on with someone else as you share that same piece of music.

MR: An anthem is a powerful uniter.

NM: Think of how powerful Nirvana was. Think of how powerful Bob Dylan was. Some people are like lightning rods.

MR: That’s a good way to put it. Natalie, we really haven’t talked much about the album yet, can you walk me through it just a little?

NM: This is a survey of fifteen years of work. It wasn’t that I just wrote ten songs in the last fifteen years, I probably wrote thirty or more. But this collection began to coalesce, these songs seemed to belong together more than any of the others. The thing that they all seemed to have in common was they seemed to be about transformation on some level. They also seemed to be about intensely personal subjects, or the world at large. Somehow I wanted to make that connected. I wanted intersections between public and private like we all have. I’ve always used this technique of creating characters and then either inhabiting those characters or having a dialog with them, which happened a lot on this record. “Ladybird” is a woman who has reached that point in her life where she feels extremely dissatisfied but knows that she has created a life that she can’t a