The implied question of what exactly we would do with all this zipless, robot-served convenience was less fun to imagine than the specifics of all those zipless, robot-served conveniences.
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My quest to have a zipless fuck begins with lucid dreaming.
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The album drew its name, Zipless, from Jong's famous coinage "the zipless fuck" (a no-strings-attached hookup), featured in the same novel in which Jong essentially depicts Daou's father trying to force her to perform oral sex.
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Like most young, slightly angry but lusty young women who have read Jong's book, a "zipless fuck" has become a personal fantasy.
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But if it starts to seem airless, zipless, or over-optimized in the moment, look on the other side of the ball.
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When you talk to writer-actress-director Frankie Shaw about about her new Showtime series SMILF, the idea of "the zipless fuck" comes up pretty quickly.
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So while I haven't had my zipless fuck, I guess a dreamy encounter with Lana's doppelgänger and fewer sleepless nights have made my adventure a near-success.
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It is precisely someone who lives within a culture of supposedly zipless encounters who is most likely to be unable to take action when she feels uncomfortable.
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Hurtling down the first route will lead to a "zipless totalitarianism", to borrow a phrase from Sean Orlando, an American artist, that will alienate workers without much improving productivity.
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So my renewed quest to have a lucid zipless fuck begins with Morley's plan: the "three Ds." The first 'D'—"dream recall"—sets out an intention to remember dreams.
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Eventually, though, zipless airheads lost allure in the age of AIDS, freewheeling sex gave way to the rigors of commitment and harder-core porn claimed a share of the market.
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That is why the protagonist of Erica Jong's novel "Fear of Flying", published in 1973, calls the no-power-games, consummately easy, consummately pure sex she longs for "the zipless fuck".
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So, with that in mind, it's no wonder that pop music—with its penchant for relatability and affinity for technology—would start to mirror humanity's need for a quick, zipless-fuck.
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Dopey fun is one thing, but "Escape to Margaritaville," a paean to the pleasures of zipless debauchery, is pitched so low it will temporarily extinguish your I.Q. That may be its aim.
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But it seems important to keep in mind the cold fact upon which the fantasy of zipless efficiency is built, which is finally a matter of reduction—person to product, team to machine.
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To be for Clinton, as Tara Isabella Burton noted recently in a retrospective piece for Vox, was to be for a dream of sexual sophistication, a Europe-envying vision of perfect zipless adult bliss.
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"Dopey fun is one thing," I wrote in my review that night, "but 'Escape to Margaritaville,' a paean to the pleasures of zipless debauchery, is pitched so low it will temporarily extinguish your I.Q." And then the Parrotheads attacked.
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By the time she's nearly assaulting the object of her affection, demanding something akin to Erica Jong's "zipless fuck" (which amounts to fantasy sex so perfect that the other person's needs can be ignored), the pressure to keep rooting for her feels unbearable.
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It is true that these players and these teams do not play basketball with the zipless efficiency and virtuosity of NBA teams, and that the games in the NCAA Tournament are strictly speaking a total fucking mess of post-teenage overage and under-qualification.
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Zipless is the first solo album by singer Vanessa Daou, released in 1994.Vibe - Nov 1996 - Page 147 KRASNOW/MCA Vanessa Daou's breathy, intimate vocals stride clear across the jazz-inflected dance pop of Slow to Burn. Less explicit than last year's Zipless, Daou's new songs are cinematic vignettes inspired by various female cultural ...
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In 1994 Daou, now billed as a solo act, recorded Zipless, a sexually charged collection of pieces inspired by the work of the poet/novelist Erica Jong. A slight stylistic evolution from Head Music, Zipless employed a somewhat more synthesized sound and introduced Daou's foray into recorded spoken word. Daou released Zipless on her own label, Lotus Records. The album quickly established a cult following and attracted the attention of Bob Krasnow, the music A&R; executive whose artist signings include Anita Baker, Björk, Natalie Merchant and Metallica.
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The group disbanded before the release of a second project, and Vanessa Daou would reemerge as a solo act with 1994's Peter Daou-produced Zipless.
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Krasnow signed Daou to his fledgling MCA Records subsidiary Krasnow Entertainment and re- released Zipless in 1995. Zipless garnered favorable international press, with features and reviews in Time, Billboard Spotlight Review, Bikini, Vibe, Wire, Mix Mag, URB, the Toronto Star and Le Monde, among other publications. The first single, "Near the Black Forest," was featured in heavy rotation on VH1 and, along with follow-up single "Sunday Afternoons," enjoyed moderate radio rotation. Daou toured nationally with New York rapper Guru and his hip hop- jazz fusion project Jazzmatazz, playing at venues such as L.A.'s House of Blues and Bimbo's 365 Club in San Francisco.
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Slow to Burn is the second solo album by singer Vanessa Daou, released in 1996.Vibe - Nov 1996 - Page 147 KRASNOW/MCA Vanessa Daou's breathy, intimate vocals stride clear across the jazz-inflected dance pop of Slow to Burn. Less explicit than last year's Zipless, Daou's new songs are cinematic vignettes inspired by various female cultural ...
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Most cryptographic protocols rely on the prior establishment of secret or public keys or passwords. However, the Diffie–Hellman key exchange protocol introduced the concept of two parties establishing a secure channel (that is, with at least some desirable security properties) without any such prior agreement. Unauthenticated Diffie–Hellman, as an anonymous key agreement protocol, has long been known to be subject to man in the middle attack. However, the dream of a "zipless" mutually authenticated secure channel remained.
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She also associates fear and loathing with Germany, her destination, because she and her husband were stationed in Heidelberg and she struggled both to fit in and to wrestle with the hatred and danger she felt being a Jew in post-Holocaust Germany. The narrator occupies her mind with many questions, plans, mental rough drafts and reminiscences as her journey unfolds, including the "zipless fuck," a major motif in the story that haunts the narrator throughout. Upon arriving, Isadora meets English Langian analyst Adrian Goodlove. She is immediately hooked.
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In 1995 MCA underwent significant management changes, at which time the company faltered on the momentum that had been building for several months around Zipless. Daou recorded a sophomore solo album, Slow to Burn, and released it in the Fall of that year. With each song a vignette inspired by the biographies of such celebrated female artisans as Billie Holiday, Gertrude Stein and Frida Kahlo, Slow To Burn enjoyed moderate to heavy smooth jazz format radio play with its first single "Two to Tango." It was featured in reviews in VIBE, URB, Billboard, Curve, and Cover magazines.
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" Eric R. Danton of The Courant said the track "features a discernible melody, a catchy vocal hook, a prominent, up-tempo guitar riff that helps the tune stand out from the dross." Rich Juzwiak of The Village Voice declared it "her virgin/whore-iest moment yet", in addition to Jackson's "most self-sufficient" single. Juzwiak wrote, "Forget about ripping off clothes—Janet Jackson just wants a zipless fuck," adding "like a moth to a flame is Janet's hand to her strawberry (her words!). She's so eager to please that even if the quickie she solicits in the chorus doesn't go down, she'll "touch it on [her] favorite fruit" anyway.
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She realizes that when she is not in control of her body, when she doesn't have agency or autonomy, that it doesn't matter how much she's dreamed of a situation, it will never be satisfying. When she returns home, she takes a bath, waits for Bennett, and comes to accept her body, herself, and the unknown future: “A nice body. Mine. I decided to keep it” (p 424). The novel remains a feminist classic and the phrase "zipless fuck" has seen a resurgence in popularity as third-wave feminism authors and theorists continue to use it while reinterpreting their approach to sexuality and to femininity.
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