Someone who doesn't give a fuck.
Thought to be an endangered species, with fewer and fewer of them in high school and even middle school with each passing set of students.
Thought to be an endangered species, with fewer and fewer of them in high school and even middle school with each passing set of students.
"Thomas Jefferson, a Virgin, and Benjamin Franklin were two singers of the Declaration of Independence."
"I remember a girl named Virginia. We called her 'Virgin', for short, but not for long."
"Virgin + Mother = Virgin Mother = Oxymoron."
"I remember a girl named Virginia. We called her 'Virgin', for short, but not for long."
"Virgin + Mother = Virgin Mother = Oxymoron."
by Lorelili January 16, 2006
An ancient Greek poet.
Little is known of her life and what litle information we do have comes from her poetry, which consists of one complete poem, several long fragmants, and countless smaller pieces.
Reportedly bisexual and had relationships with men and women throughout her life. But women were clearly her main objects of affection; From her, we get the word "sapphic", and the word "lesbian" derives from the Isle of Lesbos, where she spent most of her life.
Little is known of her life and what litle information we do have comes from her poetry, which consists of one complete poem, several long fragmants, and countless smaller pieces.
Reportedly bisexual and had relationships with men and women throughout her life. But women were clearly her main objects of affection; From her, we get the word "sapphic", and the word "lesbian" derives from the Isle of Lesbos, where she spent most of her life.
"For that girl, that lovely maiden; the clinging
of her dress makes you shake when you see it,
And I laugh for joy." -Sappho.
"On the throne of many hues, Immortal Aphrodite,
child of Zeus, weaving wiles--I beg you
not to subdue my spirit, Queen,
with pain or sorrow
but come--if ever before
having heard my voice from far away
you listened, and leaving your father's
golden home you came
in your chariot yoked with swift, lovely
sparrows bringing you over the dark earth
thick-feathered wings swirling down
from the sky through mid-air
arriving quickly--you, Blessed One,
with a smile on your unaging face
asking again what have I suffered
and why am I calling again
and in my wild heart what did I most wish
to happen to me: "Again whom must I persuade
back into the harness of your love?
Sappho, who wrongs you?
For if she flees, soon she'll pursue,
she doesn't accept gifts, but she'll give,
if not now loving, soon she'll love
even against her will."
Come to me now again, release me from
this pain, everything my spirit longs
to have fulfilled, fulfill, and you
be my ally -Sappho.
of her dress makes you shake when you see it,
And I laugh for joy." -Sappho.
"On the throne of many hues, Immortal Aphrodite,
child of Zeus, weaving wiles--I beg you
not to subdue my spirit, Queen,
with pain or sorrow
but come--if ever before
having heard my voice from far away
you listened, and leaving your father's
golden home you came
in your chariot yoked with swift, lovely
sparrows bringing you over the dark earth
thick-feathered wings swirling down
from the sky through mid-air
arriving quickly--you, Blessed One,
with a smile on your unaging face
asking again what have I suffered
and why am I calling again
and in my wild heart what did I most wish
to happen to me: "Again whom must I persuade
back into the harness of your love?
Sappho, who wrongs you?
For if she flees, soon she'll pursue,
she doesn't accept gifts, but she'll give,
if not now loving, soon she'll love
even against her will."
Come to me now again, release me from
this pain, everything my spirit longs
to have fulfilled, fulfill, and you
be my ally -Sappho.
by Lorelili March 21, 2005
(1863?-November 9, 1888) The fifth and final recognized victim of Jack the Ripper. Also known as "Fair Emma", "Ginger", and "Black Mary".
Compared with the four previous victims, Mary's origins are obscure, most of what we know about her comes from Joe Barnett, her boyfriend of 18 months and much of it could be embellished.
Mary was born in Limerick, Ireland, raised in Wales, and came to London in 1884 as a prostitute after she was widowed around 1882.
Mary worked at first in a high-class West End brothel and was even invited by a wealthy client to France, but she disliked the experience and soon returned to London.
Somehow, Mary ended up on the grim streets of the East End. In 1888, she and Joe Barnett had landed at 13 Miller's Court, on Dorset Street. Mary regularly let her homeless friends spend the night, despite Joe's protests. By November, Joe had lost his job as a dock worker and rent was 3 weeks overdue; they separated after a spat, but reconciled just hours before she was murdered.
Compared with the four previous victims, Mary's origins are obscure, most of what we know about her comes from Joe Barnett, her boyfriend of 18 months and much of it could be embellished.
Mary was born in Limerick, Ireland, raised in Wales, and came to London in 1884 as a prostitute after she was widowed around 1882.
Mary worked at first in a high-class West End brothel and was even invited by a wealthy client to France, but she disliked the experience and soon returned to London.
Somehow, Mary ended up on the grim streets of the East End. In 1888, she and Joe Barnett had landed at 13 Miller's Court, on Dorset Street. Mary regularly let her homeless friends spend the night, despite Joe's protests. By November, Joe had lost his job as a dock worker and rent was 3 weeks overdue; they separated after a spat, but reconciled just hours before she was murdered.
In the realm of Jack the Ripper, Mary Jane Kelly is an enigma within a mystery and finding her true origins has become a quest.
Mary was young and was said to be pretty, although no photo exists of her in life. She was five-foot-seven, tall and buxom with blue eyes and flowing hair, usually going without a hat. Strangely, we don't know her hair color and her aliases are difficult to decipher.
"Black Mary" could well refer to her temper; Mary was violent when drunk but was otherwise quiet.
Mary's last night saw her singing "A Violet From Mother's Grave" before going out and returning home with a client.
Her landlord and his assistant found her later that morning at 10:45 AM.
Her body lay hideously mutilated on her bed; she was nearly beheaded, her face hacked beyond recognition, her breasts removed, her thighs flayed to the bone, her abdomen opened from groin to sternum and emptied, the organs scattered around her.
Mary was young and was said to be pretty, although no photo exists of her in life. She was five-foot-seven, tall and buxom with blue eyes and flowing hair, usually going without a hat. Strangely, we don't know her hair color and her aliases are difficult to decipher.
"Black Mary" could well refer to her temper; Mary was violent when drunk but was otherwise quiet.
Mary's last night saw her singing "A Violet From Mother's Grave" before going out and returning home with a client.
Her landlord and his assistant found her later that morning at 10:45 AM.
Her body lay hideously mutilated on her bed; she was nearly beheaded, her face hacked beyond recognition, her breasts removed, her thighs flayed to the bone, her abdomen opened from groin to sternum and emptied, the organs scattered around her.
by Lorelili October 07, 2012
The high male singing voice in opera, choir, and music in general, with a singing range from C3 (an octave below middle C) to C5 (a man's high C) an octave above.
Situated between the contralto and baritone, the tenor usually plays the male lead in opera and musical theater, usually a young romantic hero.
Many pop singers are tenors, although the vocal subcategories used in opera are not applied to them. Examples include Justin Timberlake, Clay Aiken, Adam Lambert, Matthew Morrison, Darren Criss, Chord Overstreet, Freddy Mercury, Steven Tyler, and Adam Pascal.
Situated between the contralto and baritone, the tenor usually plays the male lead in opera and musical theater, usually a young romantic hero.
Many pop singers are tenors, although the vocal subcategories used in opera are not applied to them. Examples include Justin Timberlake, Clay Aiken, Adam Lambert, Matthew Morrison, Darren Criss, Chord Overstreet, Freddy Mercury, Steven Tyler, and Adam Pascal.
According to vocal weight/voice type and range, tenors are usually divided into five different categories:
countertenor: has the same singing as speaking voice as a regular tenor, but his natural range is in the alto (or even soprano) register.
Leggiero ("light") tenor: flexible voice with a very high range, he's a vocal acrobat.
Lyric tenor: A strong, sweet, lightweight voice usually reserved for the boy next door and other vulnerable, naive charcters. Examples include Roberto Alagna and Luciano Pavarotti.
Spinto tenor: A lyric voice with a strong dramatic edge, a bridge between lyric and dramatic. Examples include Placido Domingo and Mario Lanza.
Dramatic tenor: A powerful, emotive, edgy voice which is suited to bold, tragic heroes. Examples include Mario del Monaco and Jose Cura
countertenor: has the same singing as speaking voice as a regular tenor, but his natural range is in the alto (or even soprano) register.
Leggiero ("light") tenor: flexible voice with a very high range, he's a vocal acrobat.
Lyric tenor: A strong, sweet, lightweight voice usually reserved for the boy next door and other vulnerable, naive charcters. Examples include Roberto Alagna and Luciano Pavarotti.
Spinto tenor: A lyric voice with a strong dramatic edge, a bridge between lyric and dramatic. Examples include Placido Domingo and Mario Lanza.
Dramatic tenor: A powerful, emotive, edgy voice which is suited to bold, tragic heroes. Examples include Mario del Monaco and Jose Cura
by Lorelili July 06, 2011
In opera, vocal weight is a term used to describe how "light" or how "heavy" that a voice is and by extension what kind of roles that it is suited to.
Lighter voices are associated with lyric voices while heavier voices are associated with dramatic voices; lyric voices are usually brighter, sweeter, and more agile while dramatic voices are usually powerful, rich, and darker than their lyric counterparts.
Spinto voices, usually limited to tenors and sopranos, are a kind of bridge between lyric and dramatic voices, "light heavyweights" in a manner of speaking.
Lighter voices are associated with lyric voices while heavier voices are associated with dramatic voices; lyric voices are usually brighter, sweeter, and more agile while dramatic voices are usually powerful, rich, and darker than their lyric counterparts.
Spinto voices, usually limited to tenors and sopranos, are a kind of bridge between lyric and dramatic voices, "light heavyweights" in a manner of speaking.
Vocal weight may or may not be obvious immediately; a singer needs a number of opinions before any determination is reached. Vocal weight is also a strong mark of who gets to sing what in opera. Lyric voices usually play more vulnerable characters while dramatic voices usually play bold, strong characters.
Lyric voices are strong, but they're light; they don't like to sing very loudly very often and often sound forced when they do so. Lyric voices are designed for smooth, sweet singing, agile passages and clear diction.
Dramatic voices are bigger and heavier than lyric voices and their power makes them more difficult to maneuver through flowery coloratura passages, but dramatic voices are designed to sing loudly; they can sing over a large orchestra more easily than lyric voices can and are filled with emotion in addition to power.
Spinto voices are light but powerful and are essentially lyric voices with a strong dramatic edge (squillo, or "ping"), which allows them to cut through a full orchestra (rather than sing over it like a true dramatic voice).
Lyric voices are strong, but they're light; they don't like to sing very loudly very often and often sound forced when they do so. Lyric voices are designed for smooth, sweet singing, agile passages and clear diction.
Dramatic voices are bigger and heavier than lyric voices and their power makes them more difficult to maneuver through flowery coloratura passages, but dramatic voices are designed to sing loudly; they can sing over a large orchestra more easily than lyric voices can and are filled with emotion in addition to power.
Spinto voices are light but powerful and are essentially lyric voices with a strong dramatic edge (squillo, or "ping"), which allows them to cut through a full orchestra (rather than sing over it like a true dramatic voice).
by Lorelili July 09, 2011
A person with very light (almost white) blond hair, "tow" being flax or hemp fibers. Tow-headed, along with fair(-haired) and flaxen-haired, is a tradional way in the English language to refer to blond hair or lightly-colored hair, having come from its old Germanic roots (which are quite rare).
by Lorelili March 31, 2006
An Arawak slave woman who featured prominently in the Salem Witch Trials.
Her true origins are unknown, but she was brought to Barbados as a slave by adolescence and she was eventually purchased by businessman turned minister, Samuel Parris, and would later be brought to Salem Village, Massachusetts, and serve the Parris family, including caring for the children.
In early 1692, Elizabeth "Betty" Parris, age 9, and her cousin, 11-year-old Abigail Williams, began acting strangely, and several other girls in the community soon displayed the same symptoms. Convinced that it was witchcraft, the fanatical Parris grilled his daughter and niece until they named Tituba as the witch who afflicted them; as an Arawak slave woman in a Puritan community, she was very obvious and an easy target.
After the testimonies of Sarah Good and Sarah Osborne, who both denied harming anybody, Tituba's testimony (probably to avoid any more trouble) confirmed the fears of the village: she had been coaxed by a mysterious man in black to sign her name in his book, offering her magical powers in exchange for her soul. Tituba claimed that her name and those of Osborne and Good were among a list of six other names that she could not see; this confession was like Pandora's box had opened.
Her true origins are unknown, but she was brought to Barbados as a slave by adolescence and she was eventually purchased by businessman turned minister, Samuel Parris, and would later be brought to Salem Village, Massachusetts, and serve the Parris family, including caring for the children.
In early 1692, Elizabeth "Betty" Parris, age 9, and her cousin, 11-year-old Abigail Williams, began acting strangely, and several other girls in the community soon displayed the same symptoms. Convinced that it was witchcraft, the fanatical Parris grilled his daughter and niece until they named Tituba as the witch who afflicted them; as an Arawak slave woman in a Puritan community, she was very obvious and an easy target.
After the testimonies of Sarah Good and Sarah Osborne, who both denied harming anybody, Tituba's testimony (probably to avoid any more trouble) confirmed the fears of the village: she had been coaxed by a mysterious man in black to sign her name in his book, offering her magical powers in exchange for her soul. Tituba claimed that her name and those of Osborne and Good were among a list of six other names that she could not see; this confession was like Pandora's box had opened.
Although portrayed as an African slave in many dramatizations, the historical Tituba was actually a First Nations slave, most likely Arawak.
While there is little contemporary evidence, the legend is that Tituba entertained her young wards with tales of her life in Barbados, tales involving magic. As the winter continued, Tituba grew bolder and began demonstrating magic tricks for the girls, including a divination method in which an egg white was suspended in a glass of water and the shapes that it made were interpreted.
By this time, other girls and young women from the village were coming to these secret meetings. Their excitement was mixed with guilt, for they knew that this was forbidden; during one divination, the egg settled into what looked like the shape of a coffin, an image that snapped their nerves.
While there is little contemporary evidence, the legend is that Tituba entertained her young wards with tales of her life in Barbados, tales involving magic. As the winter continued, Tituba grew bolder and began demonstrating magic tricks for the girls, including a divination method in which an egg white was suspended in a glass of water and the shapes that it made were interpreted.
By this time, other girls and young women from the village were coming to these secret meetings. Their excitement was mixed with guilt, for they knew that this was forbidden; during one divination, the egg settled into what looked like the shape of a coffin, an image that snapped their nerves.
by Lorelili August 02, 2011