But if Taylor Swift puts it in her song, I am grateful to her. “And I know that The New York Times has written about ‘sexy baby.’ There have been editorials about ‘sexy baby’ before. I don’t know if she’s referencing it in the cultural sense that I’m referencing it, like in the way that I coined it, but maybe it is part of the lexicon now, which is so groovy and cool,” Bell said. “Her referencing ‘sexy baby’ kind of makes me go, Gosh. The timing of this “sexy baby” renaissance, however, was a happy, mutually affirming coincidence, Bell told me a week after Swift’s Midnights release and a few days before Inside Voice’s premiere. As covered in the book, her directorial debut, 2013’s critically beloved In a World…, itself a vocal ode, has scenes that employ the affected voice to comedic and meaningful effect. Ever since the “sexy baby” heyday of the mid-2000s, Bell has been obsessively thinking about the vocal phenomena. Lake Bell’s Inside Voice: My Obsession With How We Sound, out this week, spends an entire chapter unpacking this aughts-era addictive vocal brew that enthralled and repulsed what we now refer to as the discourse. If you want to understand with precise fidelity what Taylor Swift meant by “Sometimes I feel like everybody is a sexy baby / And I’m a monster on the hill,” do I have an audio book for you.
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