Lorelili's definitions
A tragic waste. She who thinks that she can sing act and dance while being unaware that she sucks big-time (at the three previous things, and on other certain things). She who dresses like a streetwalker, is a complete idiot, is a total hypocrite, has unnatural, silicone-filled breasts, bleached hair, has a fake body/personality/voice and sends out a bad message to children.
This repulsive beast apparently never took a singing lesson in her life and enjoys(enjoyed) drinking underage; doing drugs, smoking, and getting body piercings, breast implants, and tattoos when she said previously that she hated them; squawking like a cat on catnip to some inane, bland, badly-written song; sleeping around with any man that looks attractive to her (and putting down any man who she deems unattractive); and doing anything (from abuse of her fans, among others, to cancelling concerts or stripping at them, to becoming a homewrecker) for attention.
This creature also responds to whore, slut, bitch, tramp, harlot, cunt, the list goes on.
This repulsive beast apparently never took a singing lesson in her life and enjoys(enjoyed) drinking underage; doing drugs, smoking, and getting body piercings, breast implants, and tattoos when she said previously that she hated them; squawking like a cat on catnip to some inane, bland, badly-written song; sleeping around with any man that looks attractive to her (and putting down any man who she deems unattractive); and doing anything (from abuse of her fans, among others, to cancelling concerts or stripping at them, to becoming a homewrecker) for attention.
This creature also responds to whore, slut, bitch, tramp, harlot, cunt, the list goes on.
by Lorelili July 23, 2005
Get the britney spearsmug. (November 27, 1843-September 30, 1888) The third recognized victim of Jack the Ripper. Known as "Long Liz" by friends later in life, for her last name and lanky physique.
Born Elisabeth Gustafsdottir to a peasant family west of Gothenburg, Sweden. Unlike the other victims, Liz turned to prostitution early in life and at five-foot-five, with her dark brown hair, grey eyes, and angular features, she was a striking woman. She was known among Gothenburg police and gave birth to a stillborn daughter in April, 1865. In 1866, she moved to London as a domestic servant and in 1869 she married John Thomas Stride, a carpenter 13 years older than her. Their marriage was stormy and they separated at least twice, for the last time in 1881.
After leaving Stride, Liz lived in a dosshouse and lived off of charity handouts in addition to sewing, housekeeping, and occasional prostitution. From 1885 until her death, she had an on-and-off relationship with a dockworker, Michael Kidney. While described as "calm" and "sober", Liz was arrested several times for drunk and disorderly conduct and she and Michael were often at each other's throats.
Born Elisabeth Gustafsdottir to a peasant family west of Gothenburg, Sweden. Unlike the other victims, Liz turned to prostitution early in life and at five-foot-five, with her dark brown hair, grey eyes, and angular features, she was a striking woman. She was known among Gothenburg police and gave birth to a stillborn daughter in April, 1865. In 1866, she moved to London as a domestic servant and in 1869 she married John Thomas Stride, a carpenter 13 years older than her. Their marriage was stormy and they separated at least twice, for the last time in 1881.
After leaving Stride, Liz lived in a dosshouse and lived off of charity handouts in addition to sewing, housekeeping, and occasional prostitution. From 1885 until her death, she had an on-and-off relationship with a dockworker, Michael Kidney. While described as "calm" and "sober", Liz was arrested several times for drunk and disorderly conduct and she and Michael were often at each other's throats.
Elizabeth Stride often told acquaintances that she'd lost her husband and two of her nine children in the sinking of the "Princess Alice" in 1878 and another survivor had kicked her in the mouth as they swam to safety, causing her to stammer. While Liz was missing the teeth in her lower left jaw, Thomas Stride actually had died of tuberculosis in 1884 and they had no children. This story was most likely to elicit sympathy and financial aid from others.
At 12:35 AM, Liz was seen speaking with a man in Dutfield's Yard, next to the International Working Men's Educational Club on Berner Street. At about 1 AM, Louis Diemshutz, the steward of the club, pulled into Dutfield's Yard with his pony and cart when the pony was startled by something in the darkness and refused to go farther.
Diemshutz dismounted the cart, knelt in front of his horse, and struck a match; he saw Liz Stride lying in the dirt with her throat cut and bleeding.
Beyond the throat wound, Liz had not been injured and her clothing was undisturbed, unlike Polly Nichols and Annie Chapman. Perhaps she was not a Ripper victim, perhaps the Ripper meant to go farther when the arrival of Diemschutz interrupted him. Having botched this killing, Jack had to flee. Leaving the East End and crossing into the City of London, he happened upon Mitre Square... and another victim, Catherine Eddowes.
At 12:35 AM, Liz was seen speaking with a man in Dutfield's Yard, next to the International Working Men's Educational Club on Berner Street. At about 1 AM, Louis Diemshutz, the steward of the club, pulled into Dutfield's Yard with his pony and cart when the pony was startled by something in the darkness and refused to go farther.
Diemshutz dismounted the cart, knelt in front of his horse, and struck a match; he saw Liz Stride lying in the dirt with her throat cut and bleeding.
Beyond the throat wound, Liz had not been injured and her clothing was undisturbed, unlike Polly Nichols and Annie Chapman. Perhaps she was not a Ripper victim, perhaps the Ripper meant to go farther when the arrival of Diemschutz interrupted him. Having botched this killing, Jack had to flee. Leaving the East End and crossing into the City of London, he happened upon Mitre Square... and another victim, Catherine Eddowes.
by Lorelili October 9, 2012
Get the Elizabeth Stridemug. 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 9, 2011
Get the vocal weightmug. 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 2, 2011
Get the Titubamug. Combination of the words lesbian, bisexual, and gay, therefore referring to womyn who love womyn, people who love people of both genders, and (usually) men who love men.
by Lorelili October 25, 2004
Get the Lesbigaymug. A formal title for a woman of high social status. Also used as an affectionate term by a man/woman for his/her girlfriend or wife.
Still, the English language prefers to use the borrowed French "Madame" rather than the native English "My Lady" in address.
Still, the English language prefers to use the borrowed French "Madame" rather than the native English "My Lady" in address.
by Lorelili March 19, 2006
Get the ladymug. A subsistence pattern distinguished by intensive gardening. Essentially small-scale farming, growing all manner of vegetables, fruits, herbs, and other plant products.
In societies that subsist on horticulture, there is a strong association with matrilineal families; daughters inherit the land from their mothers. The men clear a patch of forest for a garden and the women take over. This is usually accomplished by slash-and-burn.
The most important relationship in a horticultural society is usually the bond between brother and sister (as opposed to between father and son in many farming societies); a woman marries and her husband is recognized as the father of her children, husband and wife generally live separately and the main father figure for her children is their maternal uncle.
In societies that subsist on horticulture, there is a strong association with matrilineal families; daughters inherit the land from their mothers. The men clear a patch of forest for a garden and the women take over. This is usually accomplished by slash-and-burn.
The most important relationship in a horticultural society is usually the bond between brother and sister (as opposed to between father and son in many farming societies); a woman marries and her husband is recognized as the father of her children, husband and wife generally live separately and the main father figure for her children is their maternal uncle.
Among the societies that practice horticulture are the Maroons of Suriname, the Mosuo and Naxi of China, and numerous indigenous peoples in Indonesia and the Americas, like the Iroquois, Navajo, Hopi, Zuni, and Zapotec. All of these nations are traditionally matrilineal.
by Lorelili November 7, 2012
Get the horticulturemug.