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lips:
1. The two fleshy folds that form the opening of the mouth .

2. Or: lips of the vagina / lips of the vulva / vulvar (outer and inner) lips , the outer and inner folds of flesh that cover the vagina , the labia (majora and minora). See labia for synonyms.




See Also: rubies, Virginia Maylips, vaseline lips, sherry flips, smackers, warpath lips, BJLs, BLJ, boogie lips, cheilophilous, cheiloproclitic, chicken lips, DSL, kissers, labial, lappers, outer vulvar lips, labia minora, lips, inner vulvar lips, inner lips (of the vagina), outer lips (of the vagina), vulva, vulvar inner and outer lips, vulvar outer and inner lips, knobble, Full lips, fill lips, have a box lunch, have box lunch, he-blow, hips, lips and armpits, hose job, butterfly kiss, cheek kiss, BOLTOP, labia majora, major lips (of the vagina), inside lips (of the vagina), minor lips (of the vagina), infibulation, labia, cunnilingtie, deep-throat, diddly pout, commissure, Bronx cheer, cheilocunnidipity, cheilogusia, junction, inner labia, gamahuche, mesh, lip work, lesser vulval lips, nymphae, outer labia, vulvar lips, peck, pouter, pucker up, rooting, throbbing, wet kiss, wet one,

Quotes Containing lips:
Niles Crane (David Hyde Pierce) in Frasier (1993): 'Her lips were saying: No, but her eyes were saying: Read my lips .'
Dick Tracy (Warren Beatty) and Breathless Mahoney (Madonna) after the death of Lips in Dick Tracy (1990) - Tracy: ''No grief for Lips?'' - Breathless: ''I''m wearing black underwear .''
Marty (Peter MacNicol) to Newton (Steve Martin) about their boss in Housesitter (1992): ''If I could find the right doctor I would have my lips permanently sown to his ass .''
Linda La Hughes (Kathy Burke) in Gimme, Gimme, Gimme (1999): 'I wouldn't mind him putting his hand up my skirt and moving my lips , if you know what I mean.'
William Shakespeare 'Graze on my lips ; and if those hills be dry, / Stray lower, where the pleasant fountains lie'.
Junior (Bob Hope) in Son of Paleface (1952): ''I like to kiss this girl because she has just the type of lips I like, one on top and one on the bottom .''
Morgan (Warren William) and Mavis (Mae West) in Go West, Young Man (1936): - Morgan: ''Your lips were made to kiss .'' - Mavis: ''That''s what I use ''em for.''
Ivan (Ivan Lebedeff) and Cleo (Mae West) in Goin''to Town (1935): - Ivan Valadov: ''For one kiss of your lips I''d give half my life .'' - Cleo Borden: ''See me tomorrow and I''ll kiss you twice.''
Marty (Peter MacNicol) and Newton Davis (Steve Martin) as the boss walks by in Housesitter (1992): ''If I could find the right doctor I would have my lips permanently sown to his ass .''
Professor Henry Higgins (Leslie Howard) to Eliza Doolittle (Wendy Hiller) in Pygmalion (1938): ''You find me cold , unfeeling, selfish, don''t you? Very well then! Marry some sentimental hog or other with a thick pair of lips to kiss you with and a thick pair of boots to kick you with. If you can''t appreciate what you got, you''d better get what you can appreciate .''
''You find me cold , unfeeling, selfish, don''t you? Very well then! Marry some sentimental hog or other with a thick pair of lips to kiss you with and a thick pair of boots to kick you with. If you can''t appreciate what you got, you''d better get what you can appreciate .'' Professor Henry Higgins (Leslie Howard) to Eliza Doolittle (Wendy Hiller) in Pygmalion (1938)
State prisoner Rosco (Fred Ward) enquires about his wife from his mother (Kathleen Freeman) in The Naked Gun 33 1/3. The Final Insult (1994): - Rosco: ''Ma. How''s Tanya?'' - Mother: ''Tanya''s the same. Milky, creamy skin , pouting red lips , firm buttocks , ample breasts, ears you just love to stick your tongue into...'' - Rosco: ''Ma. Please. I''m gonna get guy-cramps if you keep this up .''
'You know , you don't have to act with me, Steve. You don't have to say anything. You don't have to do anything. Not a thing . Oh! maybe just whistle . You know how to whistle , don't you Steve? You just put your lips together and blow .' Marie Browning/Slim (Lauren Bacall) to Harry Morgan/Steve (Humphrey Bogart) in To Have and Have Not (1944). This phrase is usually remembered as: If you want me, just whistle .
Leon (Melvyn Douglas) to the Soviet enjoy Ninotchka (Greta Garbo) in Ninotchka (1939): 'Love isn't so simple, Ninotchka. Ninotchka, why do doves bill and coo? Why do snails, the coldest of all creatures, circle interminably around each other? Why do moths fly hundred of miles to find their mates? Why do flowers slowly open their petals? Oh, Ninotchka, Ninotchka, surely you feel some slight symptom of the divine passion . A general warmth, a strange heaviness in your limbs, a burning of the lips that isn't thirst but something a thousand times more tantalizing, more exalting than thirst.'
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''
Charles Panati. Sexy Origins and Intimate Things (1998): ''The most popular explanation for the link between fashion and eroticism, and rapid changes in styles, is the sex-appeal theory, also known as the theory of shifting erogenous-zones . Proponents of the theory argue that the primary purpose of all womens fashion is the desire to continually reattract the opposite-sex . The driving force behind seasonal changes in styles is to arouse men sated by last seasons "look" to turn-on to a new "look." In todays sexually liberated and sex-saturated times, fashion is driven by the seduction principle. With so much sexual imagery in the media, men get sated quickly, and women must work hard to reseduce them with styles that continually shift the erogenous zone from breasts to bellies to backs to legs to hair to lips . Men, for their part, positively yearn to be reseduced, over and over again. All of this seduction, says the theory, is to fulfill the biological imperative to continue the species, even if the sexes thwart conception at every chance they get .''


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Dictionary of Sexual Terms - 24150 terms and expressions, 3500 quotes, 47000 synonyms
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