sexy:

1. Or: sex- / sexual , pertaining to or concerned with sex . Synonym: erotic .

2. Sexually appealing, arousing sexual-desire .
Synonyms: arousing; erotic ; flirtatious ; foxy ; ginchy ; hot ; humpy ; inviting; kissable; luscious; provocative; provoking; randy ; risqué ; seductive; sensual; sensuous; sesky; slinky ; slutty ; spicy; steamy ; suggestive; sultry; titillating ; twisty ; voluptuous; voomy.

Quotes:

(1) Gittel (Shirley MacLaine) and Gerry (Robert Mitchum) in Two for the Seesaw (1962):
-- Gittel: ' Do you think I'm too fat? '
-- Gerry: ' Good heavens, no .'
-- Gittel: ' Do you think I'm too skinny? '
-- Gerry: ' I think you're a sacred vessel of womanhood .'
-- Gittel: ' Sexy as all get up , hmm? '
-- Gerry: ' Well put .
-- Gittel: ' Do you think I'm too sexy? I mean oversexed? '
-- Gerry: ' Well, I think your kind of a mixed up vessel. Calmly considered I'd say your bottom was tops .'
-- Gittel: ' Oh, some vessel! I sound like a shipwreck .'

(2) Paul Bratter (Robert Redford) and his wife Corey (Jane Fonda) in Barefoot in the Park (1967):
-- Paul: ' You want me to be rich and famous, don't you? '
-- Corey: ' During the day. At night I want you to be here and sexy .'

(3) Judy Maxwell (Barbra Streisand) and Hugh Simon (Kenneth Mars) in What's Up, Doc? (1972):
-- Judy: ' Did anyone ever tell you that you were very, very sexy? '
-- Hugh: ' Well, actually, no .'
-- Judy: ' And they never will .'

See Also: 120 in the shade, beefcake, beefcakery, beefcakes, bimbosphere, bitch, bitchy, bombshell, boot slave, cheesecake, clitoris, commercial phone sex, cooch, Cosmo Girl, cutes, ditsy, ditzy, dolly bird, fleshpot, fresh nugs, gay youthism, ginchy, go to the opera, have it in large gobs, have it in large helpings, hot, hot item, hubba-hubba, humpy, hunky, jack shack, nudie, nudie-cutie, Page Three Girl, phone sex, piquant, pix, Playboys Playmate, playmate, porno, porny, real babe, reproductive freedom, Sandra Bullocks, schwing, sex number, sex shop, sexy, sexy number, slinky, socksy, steamy, sweater girl, telephone sex, twatty, twisty, vampish, vampy, wallet girl, wet dream, wet dream-girl, whanking date, wild baby, wild girl, wild thing, wild woman, X-ey, X-pics

Quotes Containing sexy:
Gittel (Shirley MacLaine) and Gerry (Robert Mitchum) in Two for the Seesaw (1962): - Gittel: 'Do you think I'm too fat?' - Gerry: 'Good heavens, no .' - Gittel: 'Do you think I'm too skinny?' - Gerry: 'I think you're a sacred vessel of womanhood .' - Gittel: 'Sexy as all get up , hmm?' - Gerry: 'Well put. - Gittel: 'Do you think I'm too sexy? I mean oversexed?' - Gerry: 'Well, I think your kind of a mixed up vessel. Calmly considered I'd say your bottom was tops. ' - Gittel: 'Oh, some vessel! I sound like a shipwreck.'
Paul Bratter (Robert Redford) and his wife Corey (Jane Fonda) in Barefoot in the Park (1967): - Paul: 'You want me to be rich and famous, don't you?' - Corey: 'During the day. At night I want you to be here and sexy .'
Charles Panati. Sexy Origins and Intimate Things (1998): ''Linguists are not certain why "bitch " passed from being a benign word, often an endearment, to a taboo. Some theorize that its explosive sound made it ideal for firing off as a slur. The psycholinguistics of all curse words require that they carry maximal energy on minimal sound, a spiked waveform characteristic of consonants. This gives the word energetic punch , making-it ''''explosive. The word "bitch " was first recorded as a verb, "to chronically complain about something", in 1823.''
Ed (Brian Kerwin) in Torch Song Trilogy (1988): 'Did anyone every tell you you have a really sexy voice? Is that natural or do you have a cold?'
Corey (Jane Fonda) to her new husband Paul in Barefoot in the Park (1967): 'Paul, I think I'm gonna be a lousy wife . But don't be angry with me. I love you very much... and I'm very sexy!'
Judy Maxwell (Barbra Streisand) and Hugh Simon (Kenneth Mars) in What's Up, Doc? (1972): - Judy: 'Did anyone ever tell you that you were very, very sexy?' - Hugh: 'Well, actually, no .' - Judy: 'And they never will.'
Pacey Witter (Joshua Jackson) and Andres McPhee (Meredith Monroe) in the TV series Dawson?s Creek (1998): - Pacey: 'Your sincerity is so appealingly sexy .' - Andie: 'And your sexiness is so appealingly sincere.'
Charles Panati. Sexy Origins and Intimate Things (1998): 'Early love , chemically based, is when you love the way the other person makes you feel. It is self-centered, feel-good love . Mature love , which comes later in a relationship , is love for whoever a person is. It is other-centered.'
Sophocles, the Greek playwright when asked: ''How is your sex life? Are you still able to satisfy a woman?'' He replied: ''Gladly I am rid of it , as though I had escaped from the clutches of a mad and savage master .'' From Charles Panati. Sexy Origins and Intimate Things (1998)
Judy Maxwell (Barbra Streisand) and Hugh Simon (Kenneth Mars) in What's Up, Doc? (1972) - Judy: 'Did anyone ever tell you that you were very, very sexy?' - Hugh:'Well, actually, no .' - Judy:'And they never will.'
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): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''
Charles Panati. Sexy Origins and Intimate Things (1998): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''
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 .''
Iram Katourian (Jack Lemmon) talking to his mistress Irene (Joanna Gleason) about his wife Millie (Talia Shire) in For Richer, For Poorer (1992): - Irene: 'Iram, do you really think that your money has anything to do with Millie's sex drive?' - Iram: 'Oh, absolutely. You've heard the phrase: power is an aphrodisiac? That applies to marriage especially. See, a poor man has tremendous power over his wife . She needs him. Without his support, her, the kids... she humps the hell out of him. The richer a man is the less his wife is depending upon him, the less power he has over her and the less sexy he becomes to her. It's a law of nature.' - Irene: 'Horniness equals dependence times poverty squared.'
Iram Katourian (Jack Lemmon) talking to his mistress Irene (Joanna Gleason) about his wife Millie (Talia Shire) in For Richer, For Poorer (1992): - Irene: ''Iram, do you really think that your money has anything to do with Millie''s sex drive?'' - Iram: ''Oh, absolutely. You''ve heard the phrase: power is an aphrodisiac? That applies to marriage especially. See, a poor man has tremendous power over his wife . She needs him. Without his support, her, the kids... she humps the hell out of him. The richer a man is the less his wife is depending upon him, the less power he has over her and the less sexy he becomes to her. It''s a law of nature.'' - Irene: ''Horniness equals dependence times poverty squared.''
Charles Panati. Sexy Origins and Intimate Things (1998): ''Thanks to photography and film, Americans have created and worshiped more femme icons than all previous centuries combined. Each of our decades has produced several new images. For the most part, men dreamed up these images and named them, and women have worked hard to copy their shapes and costumes. If there is a single attribute that most of these modern images possess, its "sex-appeal " - a relatively new and daring term in English. American men have categorized their women by sexual types and nicknamed them with suggestively playful tags. In centuries past, where a virtue-vice dichotomy prevailed, women came in only two types: good or bad , whores or madonnas, mothers or mistresses. ''
Charles Panati. Sexy Origins and Intimate Things (1998): ''Seldom do men and women equally embrace a fashion trend, and when they do the mutual enthusiasm lasts only briefly. The opposite-sexes like being opposites in as many ways as possible. When French and Italian men began to be turned-on to the female leg in decorative high heels, they did not like to see the same erotic footwear on the feet of men. All but a few men stopped wearing high heels, which went from being a mans standard footwear to one of his favorite sexual fetishes. ''

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