Definitions by Lorelili
natural child
A child born to unmarried parents, the most neutral way of describing a child as illegitimate or a bastard.
"Natural child" sounds much better than "love child"; George Carlin put it, "I have a love child who sends me hate mail."
"Bastard" is too loaded and "love child" sounds silly, since the "love child" is often the unintended result of one-night stands where love hardly features.
At least "natural child" is accurate without any silly, infantile euphemisms or insulting connotations.
"Bastard" is too loaded and "love child" sounds silly, since the "love child" is often the unintended result of one-night stands where love hardly features.
At least "natural child" is accurate without any silly, infantile euphemisms or insulting connotations.
natural child by Lorelili July 22, 2014
Lusitania
(1907-1915) A ship contemporary with the Titanic. One of the biggest and fastest ocean liners of her time, this four-funneled luxury liner was carrying a secret cargo of military supplies for the British in WWI; Germany, blockaded by the British, newly-equipped with U-boats (which Churchill ordered rammed on site), and aware of this smuggling on the part of the British, warned that any British or American ship thought to be carrying war supplies would be liable to attack, regardless of the safety of passengers or crew. The 1259 passengers and 701 crew who boarded the Lusitania on May 1, 1915, paid little attention, largely unaware of the contraband bullets and shrapnel that the ship carried.
On May 7, as lunchtime ended within sight of Ireland's south coast, the Lusitania was hit by a torpedo from a German u-boat, followed by a much bigger secondary explosion (likely a steam-pipe explosion). Listing sharply toward the wound in her starboard side, she sank in only 18 minutes, taking 1195 men, women, and children with her.
123 of the 159 Americans on board were killed, plus 94 of the 129 children on board (including 35 of 39 infants), indirectly goading the United States to enter the war on Britain's side.
On May 7, as lunchtime ended within sight of Ireland's south coast, the Lusitania was hit by a torpedo from a German u-boat, followed by a much bigger secondary explosion (likely a steam-pipe explosion). Listing sharply toward the wound in her starboard side, she sank in only 18 minutes, taking 1195 men, women, and children with her.
123 of the 159 Americans on board were killed, plus 94 of the 129 children on board (including 35 of 39 infants), indirectly goading the United States to enter the war on Britain's side.
The passengers of the Lusitania naively refused to believe that a submarine would attack a passenger ship, let alone one as fast as the Lusitania.
May 7, just 11.5 miles from the Irish coast, a torpedo rocked the ship. Listing sharply to starboard and continuing at full speed for two miles, she had lost control. Panic ensued as she plunged under the surface, head-first.
Power was soon lost, trapping many below-decks and a number in the first-class elevators.
The starboard lifeboats swung away from the ship, while the port boats swung inward; although the ship had 48 lifeboats, only six starboard boats would be safely lowered while many others tipped or were lowered on top of each other. The port boats had to slide down the hull, splintering as they snagged on rivets, while one broke loose and careened down the boat deck, crushing passengers who were not already injured on the sloping decks. The maimed littered the deck and a sea that was choked with floating debris.
While parents tried to find their children in the frenzy, children squealed for their parents. Many put on their life-jackets upside-down and backwards in the panic.
In less than twenty minutes, the Lusitania was gone, taking the trapped to the bottom and leaving several hundred more at the surface to die of hypothermia.
The Lusitania casualties were tiny compared to the soldiers who died daily at the front, but they got an immediate reaction; not even civilians were safe.
May 7, just 11.5 miles from the Irish coast, a torpedo rocked the ship. Listing sharply to starboard and continuing at full speed for two miles, she had lost control. Panic ensued as she plunged under the surface, head-first.
Power was soon lost, trapping many below-decks and a number in the first-class elevators.
The starboard lifeboats swung away from the ship, while the port boats swung inward; although the ship had 48 lifeboats, only six starboard boats would be safely lowered while many others tipped or were lowered on top of each other. The port boats had to slide down the hull, splintering as they snagged on rivets, while one broke loose and careened down the boat deck, crushing passengers who were not already injured on the sloping decks. The maimed littered the deck and a sea that was choked with floating debris.
While parents tried to find their children in the frenzy, children squealed for their parents. Many put on their life-jackets upside-down and backwards in the panic.
In less than twenty minutes, the Lusitania was gone, taking the trapped to the bottom and leaving several hundred more at the surface to die of hypothermia.
The Lusitania casualties were tiny compared to the soldiers who died daily at the front, but they got an immediate reaction; not even civilians were safe.
unpaid prostitute
A more polite way of saying "slut"; remember that a whore gets paid while a slut does the same work for free.
From SNL parody of Girls:
Jessa: I had sex with a cab driver, alright? It's called being free.
Blerta: You are prostitute?
Jessa: No, it's not prostitution if you don't get paid.
Blerta: You are UNPAID prostitute?!? You are lower than dog!
Jessa: I had sex with a cab driver, alright? It's called being free.
Blerta: You are prostitute?
Jessa: No, it's not prostitution if you don't get paid.
Blerta: You are UNPAID prostitute?!? You are lower than dog!
unpaid prostitute by Lorelili December 18, 2013
marriageable
Of an age suitable for marriage, especially used to refer to a woman at the beginning of her childbearing years; nubile.
For most of recorded history in Asia, Africa, and Europe, men could be considered marriageable at 14 years and women at 12 years, although usually both parties had to be physically mature enough to consummate the marriage.
The bride is usually between 12-25 years of age, traditionally; depending on where and when the setting is, a bride 18 years of age can be seen as too young, too old, or perfectly marriageable; Ancient Greeks and Ancient Romans and Ancient Hebrews, like much of Africa and South Asia today, wanted to marry their daughters off before she gave into physical temptation and had sex before she was married. Vikings, on the other hand, preferred a bride closer to age 20, in full bloom.
The groom, on the other hand, can be any age from a few years younger than the bride to roughly her age to at least a decade older than her.
Until recently, the quinceañera and sweet sixteen parties marked a young woman's entry into adulthood and marriageable age; now that so few women are married that early, both have lost some meaning and degenerated into excess.
The bride is usually between 12-25 years of age, traditionally; depending on where and when the setting is, a bride 18 years of age can be seen as too young, too old, or perfectly marriageable; Ancient Greeks and Ancient Romans and Ancient Hebrews, like much of Africa and South Asia today, wanted to marry their daughters off before she gave into physical temptation and had sex before she was married. Vikings, on the other hand, preferred a bride closer to age 20, in full bloom.
The groom, on the other hand, can be any age from a few years younger than the bride to roughly her age to at least a decade older than her.
Until recently, the quinceañera and sweet sixteen parties marked a young woman's entry into adulthood and marriageable age; now that so few women are married that early, both have lost some meaning and degenerated into excess.
marriageable by Lorelili November 30, 2013
Bass
In singing, the bass (or basso) is the low male voice and the lowest of all six voice types. A bass is typically classified by a vocal range extending two octaves from around the second E below middle C to the E above middle C (E2–E4). The tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef.
The deep, booming sound of the bass seems to come from dark caverns and the bass is usually called to perform the roles of kings, priests, fathers/grandfathers, gods, and Satan.
Some pop singers are basses, although the vocal subcategories used in opera are not applied to them. Examples include Barry White, Isaac Hayes, Thurl Ravenscroft, William Warfield, Harold Reid, Vladamir Miller, Burman Porter, Gary Miller, Wes McKinzie, Tim Duncan, Robert C Guy, Duane Adams, Gary Evans, Richard Sterban, Eric Bennett, George Younce, Christian Davis, Mike Holcomb, Jeff Pearles, Tim Storms, JD Sumner, and Steve Cross.
The deep, booming sound of the bass seems to come from dark caverns and the bass is usually called to perform the roles of kings, priests, fathers/grandfathers, gods, and Satan.
Some pop singers are basses, although the vocal subcategories used in opera are not applied to them. Examples include Barry White, Isaac Hayes, Thurl Ravenscroft, William Warfield, Harold Reid, Vladamir Miller, Burman Porter, Gary Miller, Wes McKinzie, Tim Duncan, Robert C Guy, Duane Adams, Gary Evans, Richard Sterban, Eric Bennett, George Younce, Christian Davis, Mike Holcomb, Jeff Pearles, Tim Storms, JD Sumner, and Steve Cross.
In popular music, there is not much attention paid to the bass. In classical music, basses are prized.
Based on vocal weight and voice type, basses can be further divided into the following subcategories:
Basso cantante: a light, lyrical voice suited to smooth, sweet singing. Usually in Italian and French opera; the closest German and English equivalent is the bass-baritone.
Basso-buffo: "buffoon bass", comes in both lyric and dramatic weight, but generally this deep, flexible voice is usually used for comical roles.
Basso-profondo: "deep bass", comes in lyric an dramatic weight, and is the lowest, darkest bass. Usually reserved for serious, elegant roles. Examples include Feodor Chaliapin, Maxim Mikhailov, Martti Talvela, Matti Salminen, Kurt Moll, an Kurt Rydl.
Based on vocal weight and voice type, basses can be further divided into the following subcategories:
Basso cantante: a light, lyrical voice suited to smooth, sweet singing. Usually in Italian and French opera; the closest German and English equivalent is the bass-baritone.
Basso-buffo: "buffoon bass", comes in both lyric and dramatic weight, but generally this deep, flexible voice is usually used for comical roles.
Basso-profondo: "deep bass", comes in lyric an dramatic weight, and is the lowest, darkest bass. Usually reserved for serious, elegant roles. Examples include Feodor Chaliapin, Maxim Mikhailov, Martti Talvela, Matti Salminen, Kurt Moll, an Kurt Rydl.
dramatic voice
In opera and classical music, all six voice categories (soprano, mezzo-soprano, contralto, tenor, baritone, bass) have at least two subtypes with them, "lyric" and "dramatic" voices, which describe "vocal weight"; where a "lyric voice" is light, brighter, smoother, agile, and sweet, a "dramatic voice" is heavy, powerful, darker, richer, and often metallic in quality.
A dramatic voice is just that: powerful, substantial, edgy, vigorous, and heavy with emotion. The weight of the voice affects agility, but it allows them to sing over a full orchestra with little trouble. These are the singers who are imagined blasting the walls from buildings with the sheer power of their voices.
A dramatic voice is just that: powerful, substantial, edgy, vigorous, and heavy with emotion. The weight of the voice affects agility, but it allows them to sing over a full orchestra with little trouble. These are the singers who are imagined blasting the walls from buildings with the sheer power of their voices.
Since pop singers generally don't use the breath support and projection that opera singers are trained to use, few voices in pop music can be described as a "lyric voice" or "dramatic voice".
The closest approximations of dramatic voices in popular music (since popular music training follows a very different set of rules) could include:
Dramatic sopranos: Patti LaBelle, Monica Naranjo, Cissy Houston, Kyla la Grange, Lorraine Ellison, Kate Bush, Jill Scott, Floor Jansen, Mina, Sohyang, and Martha Wash.
Dramatic Mezzo-sopranos: Anastacia, Patti LuPone, Carol Burnett, Dusty Springfield, Ruthie Henshall, Ethel Merman, Allison Crowe, Janis Joplin, Sinéad O'Connor, Joss Stone, and Aretha Franklin.
Dramatic Contraltos: Lisa Gerrard, Tina Turner, Ana Carolina, Florence Welch, and Ruth Pointer
Dramatic Tenors: Alejandro Fernandez, Vicente Fernandez, Luis Miguel, Clay Aiken, Michael Ball, John Owen-Jones, Thomas Vikström, Erik Santos, and Alessandro Safina
Dramatic Baritones: Rick Astley, Philip Quast, George Hearn, Michael Cervaris, Josh Groban, Tom Jones, David Lee Roth, and Al Green
Dramatic Basses: Isaac Hayes, William Warfield, Thurl Ravenscroft, and Paul Robeson
The closest approximations of dramatic voices in popular music (since popular music training follows a very different set of rules) could include:
Dramatic sopranos: Patti LaBelle, Monica Naranjo, Cissy Houston, Kyla la Grange, Lorraine Ellison, Kate Bush, Jill Scott, Floor Jansen, Mina, Sohyang, and Martha Wash.
Dramatic Mezzo-sopranos: Anastacia, Patti LuPone, Carol Burnett, Dusty Springfield, Ruthie Henshall, Ethel Merman, Allison Crowe, Janis Joplin, Sinéad O'Connor, Joss Stone, and Aretha Franklin.
Dramatic Contraltos: Lisa Gerrard, Tina Turner, Ana Carolina, Florence Welch, and Ruth Pointer
Dramatic Tenors: Alejandro Fernandez, Vicente Fernandez, Luis Miguel, Clay Aiken, Michael Ball, John Owen-Jones, Thomas Vikström, Erik Santos, and Alessandro Safina
Dramatic Baritones: Rick Astley, Philip Quast, George Hearn, Michael Cervaris, Josh Groban, Tom Jones, David Lee Roth, and Al Green
Dramatic Basses: Isaac Hayes, William Warfield, Thurl Ravenscroft, and Paul Robeson
dramatic voice by Lorelili May 28, 2013
luxurious
1. Enjoying pleasures and luxury.
2. Of a very fine and comfortable quality.
3. Often describes a voluptuously sensuous figure, either on a man or woman.
2. Of a very fine and comfortable quality.
3. Often describes a voluptuously sensuous figure, either on a man or woman.
"The bedroom was sensually luxurious with its canopy bed, silk bed curtains, lace drapes, soft throw rugs, overstuffed sofa, voluptuous pillows, satin sheets, and deep mattress."
"The low neckline of her bodice accentuated her luxurious figure, her sash wound around her waist just tightly enough to call attention to her full, shapely hips under her flowing, luscious skirt."
"The low neckline of her bodice accentuated her luxurious figure, her sash wound around her waist just tightly enough to call attention to her full, shapely hips under her flowing, luscious skirt."