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Hey gang! Due to copyright restrictions, some of our old episodes will be removed for an indefinite amount of time until I can either A) contest the songs used in each episode under fair use or B) just edit them out. I don't know if this matters to anyone but I'd download the following episodes from a platform such as podbay.fm if you like them because they might soon be unavailable for a time.- Spring 2020 Season Preview (Part 1/2)- Kaguya-sama: Love is War - The First Kiss That Never Ends Review- Code Geass: Lelouch of the Rebellion | Season One- OTAKU MINICHOLY: Tokyo Revengers- ATTALK ON TITAN: Episode 75 - "Above and Below"- ATTALK ON TITAN: Episode 81 - "Thaw"- Listener Request: Barakamon + Patreon Q & A- MAY-AZAKI - Howl's Moving Castle- MAY-AZAKI: The Wind Rises- MAY-AZAKI: Nausicaa of the Valley of the Wind- Spring 2020 Season Review- Rebuild of Evangelion: You Can (Not) Review [Part One]- Rebuild of Evangelion: You Can (Not) Review [Part Two]- WAS IT THAT HYPE?: Sword Art Online- The Tatami Galaxy- Listener Request: Princess Principal- Paprika | Dream a Little Dream of Anime- Rap, Streaming, and Bobobo: An Interview with Greshmon- Summer 2020 Season Impressions | You Ever Decadanced with the Demon King in the Pale Moon Lapis ReLights?- Japan Sinks 2020 | Get Sunk On, Netflix Subscribers- A Whisker Away | I Wanna Cry, I Wear a Cat- TRADE YA! The Devil is a Part Timer & Kaguya-Sama: Love is War- Random Anime Generator: Making an Anime With Just Three Words- All Raws, No Subs: The Return of the Post Con Blues- Spring 2021 Preview: Part One- Spring 2021 Preview: Part Two- Made in Abyss- A Year of Otaku Melancholy! - What We Learned (And Didn't Learn), the Anime We Watched, and Reflections- Devilman Crybaby- All Raws, No Subs: Hentai (and all related discussions)- Berserk '97 (feat. Otaku Host Club)- Is "The Fruit of Evolution: Before I Knew It, My Life Had It Made" SAVING Anime!?- Growing Up With Anime: A Mild (Self) Discussion on Affirmation, Acceptance, and Cringe- OtaMel Awesome Mix Vol. 1: The Anime OPs We Love and Why- The OtaMel (Somewhat) Useful Christmas Gift Giving Guide for Your Weeb Friends- A Small Review of Suzume: Locking Up the Doors on the Latest Makoto Shinkai Film- Mob Psycho 100 [Season One]- Summer 2021 Seasonal Anime Preview - Part Two- A Very Sincere Actual Legitimate Review of Bakemonogatari- Millennium Actress- A Discussion on (Some Episodes Of) Requiem of the Rose King- Mobile Suit Gundam: the Witch From Mercury- Reflecting on Another Year of Doing This: 3rd Year's the Charm, Right? (It Wasn't But Thanks for Listening and Supporting Anyways)- The Final Otaku Melancholy: A Re-Review of Eromanga-Sensei and Four Years of the ShowThank you all for listening during the four years Otaku Melancholy was around! It means a lot! We'll see each other soon!
What should I Wear?
Pat has been a session drummer since the mid '70s, was a founding member of Mr. Mister in the '80s, and played in all line-ups of King Crimson since '94. He's also a producer and no stranger to electronics. We discuss "31" by Tu-Ner from T-1 Contact Information (2023), "Flinch" by TUNER from Totem (2005), "Life Goes On" by Mr. Mister from I Wear the Face (1984), and we conclude by listening to "Prog Noir" by Stick Men (2016). Intro: "Vroom Vroom" by King Crimson from Thrak (1995). Hear more Nakedly Examined Music. Support us on Patreon.
You can say which team a person follows by what they wear, even religions can be determined what what people wear. So what do Jesus followers wear? Join us in learning 'What do I Wear?' in Week 4 of the series 'Follow Me' by Pastor Danny Simon
In today's flashback, an outtake from Episode 423, my conversation with bestselling author Chuck Klosterman. This episode first aired on July 20, 2016. Klosterman is the bestselling author of eight nonfiction books (including Sex, Drugs, and Cocoa Puffs; I Wear the Black Hat; But What If We're Wrong?; and Killing Yourself to Live). he has also published two novels (Downtown Owl and The Visible Man). He has written for The New York Times, The Washington Post, GQ, Esquire, Spin, The Guardian, The Believer, Billboard, The A.V. Club, and ESPN. Klosterman served as the Ethicist for The New York Times Magazine for three years, appeared as himself in the LCD Soundsystem documentary Shut Up and Play the Hits, and was an original founder of the website Grantland with Bill Simmons. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
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This week we have an extra special episode with featured guest, Chuck Klosterman, New York Times bestselling author of Sex, Drugs, and Cocoa Puffs; I Wear the Black Hat; But What If We're Wrong?; and most recently, The Nineties, which was released to widespread acclaim earlier this year. In the book, Klosterman examines all things 1990s including the decade's fascination with clear drinks such as Zima and Crystal Pepsi. So tune in and hear what Klosterman has to say about the drinks themselves and what they mean within the context of the era. Buy The Nineties:https://chuckklostermanauthor.com/ _____________________________________ Join us every Monday as acclaimed bartender, Erick Castro, interviews some of the bar industry's top talents from around the world, including bartenders, distillers & authors. If you love cocktails & spirits then this award-winning podcast is just for you. SUPPORT US ON PATREON: Get early access to episodes, exclusive bonus episodes, special content and more: https://www.patreon.com/BartenderAtLarge WATCH OUR VIDEOS ON YOUTUBE: https://www.youtube.com/bartenderatlarge FOLLOW US ON INSTAGRAM: Erick Castro: www.instagram.com/HungryBartender Bartender at Large: www.instagram.com/BartenderAtLarge FOLLOW US ON TWITTER: Erick Castro: www.twitter.com/HungryBartender Bartender at Large: www.twitter.com/BartendAtLarge BUY OUR MERCH: https://moverandshakerco.com/collections/bartenderatlarge
Alex and Dave are joined by Zach Cropper for a conversation about Europe '72. Zach is the host of Rock Talk with Dr. Cropper, a music podcast available wherever you're listening to this. He covers a wide range of artists, but the Grateful Dead are one of his favorites. Among other topics, Zach has recorded three deep dives into Europe '72, so we talked with him about what makes E72 his favorite tour. In sum, this ended up being a really fun conversation about Zach's background as a music fan, Dead Head, and podcaster. Enjoy!Follow Zach:Twitter - @RockTalkDrCroppInstagram - @rocktalk.dr.cropperApple - https://podcasts.apple.com/channel/rock-talk-w-dr-cropper/id6442515716Spotify - https://open.spotify.com/show/2hEY3z2KH5vfdDY7Rl6JKWLinks:Rock Talk Europe '72 (1/3) Overall Show Rankings - https://open.spotify.com/episode/78aXTi0KJNCwNLM8XeWByj?si=Ukdmqb0gSlit36Yhlns_rwRock Talk Europe '72 (2/3) The Other One Jam Rankings - https://open.spotify.com/episode/7AETsnTx6NJu9oHwsc1K3n?si=GRuTcc1XSXir0nhO8dbHzARock Talk Europe '72 (3/3) Dark Star Rankings - https://open.spotify.com/episode/2lAyS4Vhwu3UjJB1ruaXn4?si=i1uPUyJoRMKafChTkgUOjQChuck Klosterman, I Wear the Black Hat - https://www.indiebound.org/book/9781439184509
Join Double T and Guest Joey Owner of the Iwear_whatiwant clothing boutique. As We discuss how she got started and how fashion is more then just clothes.
Women may have one extra bone in their body, but men are still the superior beings. This week, join David and Samantha as they try to navigate the complicated minefield of being a woman in the IFB. Sources The Lady the Lord is Looking For - Cathy Corle The Hidden Helpmeet - Debby Pearl What in the World should I Wear? - Cathy Corle The Christian Lady's Handbook - George and Alba Alquist
The E.O.M Podcast Episode: On today's episode of The E.O.M Podcast (Entrepreneur On A Mission) we feature Joey owner of iWear What iWant Online boutique with a focus on a personal shopping experience. Joey has a unique eye for evolving fashion with an unprecedented drive to exceed expectations. She works hard everyday to deliver the best possible shopping experience and customer service. Her goal is help you find your style not just buy into fashion. Let's tap in and find out what else is in the works?! So with out further delay…..let's welcome Joey What got you into fashion? How did you come up with your company name? How can ppl find you and buy from you? What makes you different from other boutiques? Why did you get involved in entrepreneurship? Do you have anything upcoming you want the ppl to know about? Pop up shops, new items, discounts or discount codes? Find out what entrepreneurs are doing to grow their business. Email: eomnetworkz@gmail.com Want to be featured on the show?! Send us an email and request The E.O.M Podcast Questionnaire. Follow us on Instagram --- Send in a voice message: https://podcasters.spotify.com/pod/show/eomnetwork/message
"I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means. What I want and what I fear." –Joan Didion In Episode 73, Gen and Jette discuss the broad category of essay collections. From Joan Didion to Chuck Klosterman to Samantha Irby, essay collections cover a wide range of topics in a wide variety of forms. We love a good collection of essays, so we share a few of our favourites, discuss what works for us and what doesn't, and talk about a few on our TBR lists. Show Notes: We've covered a few essay collections on the podcast: Episode 9 – Eating the Dinosaur by Chuck Klosterman, Episode 38 – Movies and Other Things by Shea Serrano, Episode 65 – Like Streams to the Ocean by Jedidiah Jenkins, Episode 68 – We Are Never Meeting in Real Life by Samantha Irby Essay writing opens up so many possibilities that we'd both love to explore in our own writing. Check out Electric Lit for one off essays and sign up for their newsletter to get a curated list delivered to your inbox. Gen's Essay Collection Recommendation: anything Zadie Smith has written Jette's Essay Collection Recommendation: But What If We're Wrong by Chuck Klosterman Books and Authors Mentioned: Joan Didion – Slouching Towards Bethlehem, The White Album, South and West Chuck Klosterman – But What If We're Wrong, Eating the Dinosaur, Sex, Drugs, and Cocoa Puffs, I Wear the Black Hat, Killing Yourself to Live Samantha Irby – We Are Never Meeting in Real Life, Wow, No Thank You Zadie Smith – Intimations, Changing My Mind, Feel Free Like Streams to the Ocean by Jedidiah Jenkins Scratch: Writers, Money, and the Art of Making a Living edited by Manjula Martin 101 Essays That Will Change the Way You Think by Brianna Wiest Trick Mirror by Jia Tolentino The Collected Schizophrenias by Esmé Weijun Wang They Can't Kill Us Until They Kill Us by Hanif Abdurraqib How to Write an Autobiographical Novel by Alexander Chee Crying in H Mart by Michelle Zauner
We hope everyone had a fun day exercising your freedom to give neighborhood dogs PTSD! On this week's episode, Devo Spice highlights two more FuMPfest 2021 performers and Drowning Pool teaches the kids how to count! 1. I Wear a Hat Now Live at FuMPFest 2018 by Bill Larkin 2. Not Today by Ross Childs 3. News of the Stupid! 4. Bodies Drowning Pool - Kids' Edition by There I Ruined It Bill Larkin is at BillLarkin.com, Ross Childs is at RossChilds.com, and There I Ruined It is at YouTube.com/thereiruinedit Be sure to register for FuMPFest at fumpfest.com - FUMPFEST.com !!! Thank you to our Patreon backers for helping make this show possible!!!
The Broads: Live! We kicked off the DSM Book Fest on March 27 with a live, virtual episode. And you can listen now!Want to see our faces? Watch the VIDEO! of this episode: Broads and Books Live at the DSM Book FestWhether you listen or watch, you'll hear one of our favorite stories, learn about the authors headlining the DSM Book Fest, answer reader questions, and open our new Broads and Books store! _____A Broad's book: You can pre-order Amy's book, DIG ME OUT, now! Plus, sign up for bonuses (and more Podcats) at www.amyleelillard.com!_____Books and authors we mentioned at The Broads Live at the DSM Book Fest:Tayari Jones, An American Marriage. Hear more about this book in Episode 51!Lara Prescott, The Secrets We Kept. Hear more about this book in Episode 52. Chuck Klosterman, I Wear the Black Hat. Hear more about this book in Episode 18.Taylor Jenkins Reid, The Seven Husbands of Evelyn Hugo (hear more in Episode 1) and Daisy Jones and the Six (hear more in Episode 25). Check out all our author conversations in The Broads Talk Books With! _____Broads and Books is a book podcast. A funny podcast. A feminist podcast. And one of the BEST podcasts. Each week Amy and Erin choose a unique theme. Then we choose two fiction books, two other genre books (short story collections, memoir, non-fiction, true crime, poetry, etc.), and two pop culture picks based on that theme. We surprise each other with our picks, talk about why we like them, and give you unexpected recommendations for every reading taste. Along the way, we share embarrassing stories, pitch amazing-slash-crackpot business ideas, implicate ourselves in future crimes, and so much more. Broads and Books is fresh, funny, thought-provoking, and basically the best time you'll have all week.Visit us at www.broadsandbooks.com, and talk to us on Instagram, Twitter, and Facebook!
I Wear a Mask - Bad French, and Oldest Human in Recorded History
In this episode, we share the story of Sarah, a Lebanese woman who went against family pressures to remove her hijab. She originally wrote her story for Freethought Lebanon, under the title 'I Am an Atheist and I Wear the Veil'. She consented for us to adapt and share her story. In part II next week we will share an interview that we had with Sarah about the feedback she received from her article.Thank you to Dzovig Arnelian, a friend and a wonderful artist for agreeing to record this with us, and to Sarah, for sharing her story and for allowing us to share it too.For the original article: https://www.freethoughtlebanon.net/2018/02/i-am-an-atheist-and-i-wear-the-veil/ For transcripts and translation, or to sign up for Arabic classes, go to our website: https://realarabic.weebly.com
Chuck Klosterman has written tomes of the written word for GQ, ESPN, The Washington Post, Esquire, The Guardian, and plenty more. In 2014, he joined us to talk about I Wear the Black Hat, which examined villainy through pop culture figures like Batman, Kanye West and LeBron James. In 2016, he talked about his book: But What if We're Wrong, which examined how the present will be perceived in the future. But this time around, Chuck joins us to tell us about the craziest day of his career. Trust us, this is one story you don't want to miss! Klosterman's latest book Raised in Captivity: Fictional Nonfiction is out now.
193 - Chuck Klosterman It's an honor to welcome a brilliant writer and pop culture deconstructionalist. The last interview guest of 2018 is best-selling author Chuck Klosterman, he's written several acclaimed works of nonfiction including Sex, Drugs and Cocoa Puffs, Fargo Rock City, I Wear the Black Hat, as well as works of fiction: Downtown Owl and The Visible Man. A music critic and sportswriter, Klosterman has contributed to such periodicals as The New York Times, The Washington Post, GQ, Esquire, Spin, and The Guardian. It's been marvelous to interview so many compelling people in 2018. Welcoming Chuck Klosterman is a fitting finale. Thanks for listening! Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour
Show Summary: (Full Transcript Below) Please welcome Teen correspondent, Simon Bonenfant, as he steps into the interviewer role for Blind Abilities. While attending and presenting at the Pennsylvania NFB convention, Simon pulled out his recorder and went to work. Conducting 5 interviews from vendors and presenters. In this interview, Simon talks to Retired Teacher of the Visually Impaired/Orientation and Mobility Instructor Keith Ford. They talk about the importance of braille and how modern technology is changing the way teachers teach and Keith gives us some insight into the field of a Teacher of the Visually Impaired along with some tips for Transition age students. Join Simon and Keith in this brief look back at the journey Keith has gone through and his optimistic view of the future of technology and training. Check out previous interviews with Simon Bonenfant: TVI Toolbox: Summer Academy, Total Transition to College Experience – Welcome Back Simon Bonenfant and Meet Fellow Student, John Dowling TVI Toolbox: Science, Technology, Engineering and Math: Carving His Pathway Towards Success, Meet Simon Bonenfant Contact: Thank you for listening! You can follow us on Twitter @BlindAbilities On the web at www.BlindAbilities.com Send us an email Get the Free Blind Abilities App on the App Store. Full Transcript: TVI Toolbox: A Conversation with Keith Ford l- Retired Teacher of the Blind and Visually Impaired and Orientation and Mobility Instructor Keith Ford: I got a Masters Degree as a teacher of the visually impaired and a certification as an orientation and mobility instructor. Jeff Thompson: Welcome to Blind Abilities. I'm Jeff Thompson. Blind Abilities presents Keith Ford. Keith Ford: Back in the old days it was just kids that were just partially sighted and totally blind but over time I had to learn to adapt my instruction to meet the needs of lots of different children and actually learn new skills. Jeff Thompson: A retired teacher for the blind and visually impaired and orientation and mobility instructor. Simon Bonenfant: I used the Perkins Braille writer for math because you could have lines horizontally, vertically where when the Braille was placed just a flat and horizontal surface and you can't do the spatial element of Braille which is missing but on the paper you get that. Jeff Thompson: This podcast was made possible by our team correspondent, Simon Bonenfant. Keith Ford: With this device that's being developed at the University of Michigan, it'll be like a Braille iPad which will just be like a sheet of Braille. The way it will produce lines and make it do graphs. Jeff Thompson: For more podcasts with the blindness perspective, be sure to check us out on the web at www.blindabilities.com, on Twitter @BlindAbilities and download the free Blind Abilities app from the app store and Google Play store. That's two words, Blind Abilities. Keith Ford: I'm real pragmatic. I would always tell students that they want to get into something that's going to lead to employment after college. Jeff Thompson: And now here's Simon Bonenfant with Keith Ford. Keith Ford: Well you certainly want to have dual certification as an O&M instructor and a teacher of the visually impaired, that's really important to have that flexibility. Simon Bonenfant: Hello Blind Abilities. This is Simon Bonenfant here and I'm here at the state convention in Pennsylvania of the National Federation of the Blind. I got a chance to talk to a man named Keith Ford. How are you doing, Keith? Keith Ford: Hello. Simon Bonenfant: Very nice to talk to you. Keith Ford: Okay. Simon Bonenfant: Keith, you are a retired mobility instructor, is that correct? Keith Ford: And a teacher of the visually impaired. Simon Bonenfant: Oh, very nice. It's very interesting because as I was talking to Keith I found out that he's not blind and he's sighted so we were talking about how that worked. How did you get into the field of orientation, mobility and teacher of the visually impaired? Keith Ford: That was way back in 1985 where I decided to make a career change and I thought something that a helping professional would be more something I was interested in pursuing and I guess it has to do with attitudes and interests and abilities and just a certain view of life. Maybe you just feel more comfortable working in a helping profession than something else. Maybe that's it. Simon Bonenfant: Yeah. Did you get a degree to do this kind of job? Keith Ford: Yes. I went to the University of Pittsburgh and I got a masters degree as a teacher of the visually impaired and it also had certification as an orientation and mobility instructor. I graduated in August of 1986. Simon Bonenfant: Wow. Very nice. Did you do orientation, mobility and TVI all in the same kind of job? Keith Ford: As an itinerant teacher, yes. Simon Bonenfant: Okay. As you were working in this field, what did it teach you? What did you learn the most from your students as you were teaching them? Keith Ford: In the time that I taught you saw a lot of change occurring where in the early years most of my students were just partially sighted or totally blind, but then as time went on you saw more multi-impaired children. We like to use in the profession terms like life skills and learning support. You had more and more students like that and then you saw more and more autistic children who were visually impaired and then more and more students that are called cortically visually impaired where that deals with trauma to the brain since you have more and more premature babies being born. Keith Ford: CVI, cortical visual impairment, usually involves a long list of visual behaviors because it's trauma to the brain, it's not to the eye or the optic nerve. That's a whole different ballgame and it's still a relatively new aspect to what teachers of the visually impaired do. Simon Bonenfant: Right. Keith Ford: But they're predicting that CVI students will be the new face of blindness or visual impairment in the future. Simon Bonenfant: Wow. Keith Ford: It's always been, to answer your question, over the time I taught there was just so much change. Back in the old days it was just kids that were just partially sighted and totally blind but over time I had to learn to adapt my instruction to meet the needs of lots of different children and actually learn new skills. Nowadays in orientation and mobility programs you're getting a lot more emphasis on students that are totally blind and totally deaf so that there's instruction involved with those kinds of students, which wasn't a part of my instruction back in 1985. Keith Ford: But the field is always changing because the population is just changing. Nowadays kids that are just partially sighted or totally blind, they're in the minority. You're also seeing a lot of new approaches to orientation and mobility. Back in the old days we were always taught that you had to have a control mechanism to cross an intersection, like a stop sign or a traffic light. Keith Ford: But now more and more travelers are encountering situations where there isn't a control mechanism so there's this emphasis on crossing at intersections where there isn't any control mechanism. There's a decision-making process involved in that called acceptable risk and non-acceptable risk. It's still a relatively new thing but it's blind and partially sighted travelers are running into situations now where they have to cross where there isn't a control mechanism. Keith Ford: Not that every crossing could ever ... There's some crossings you just can't make, they just can't be done, you shouldn't try it. The whole idea of acceptable risk and unacceptable risk is something you have to learn. There are decision-making skills you have to learn for that. It's something that's happening more and more in making those kinds of crossings. Keith Ford: Overall I would say what I've learned from my students is just learning new skills to work with students that have other handicapping conditions. That would probably be the most I've received from my students is I had to learn to adapt and learn new skills. Simon Bonenfant: Did you have to learn Braille when you were becoming a TVI? Keith Ford: Oh yes. We had a heavy emphasis on Braille back in the old days, certainly. Braille is very important, but there are some students that are lower functioning that just can't understand Braille so they can't use it. Simon Bonenfant: Right. I'm sure you've seen a lot of changes in your time in the blindness field in terms of technology. Keith Ford: Oh yes. Simon Bonenfant: Were you using the Perkins Braille writers back when you started? Keith Ford: It's always going to be there, the Perkins Braille writer, because technology breaks down. Simon Bonenfant: Exactly. Yeah. Keith Ford: But the assistive technology they have nowadays is a much higher quality, much more reliable. Back when I started we had the VersaBraille P2C, which in its day was a wonderful thing but they had a lot of breakdowns and by the end of the school year you'd have to send the Versabraille P2C back to the manufacturer and they'd have to kind of do an overhaul just to replace things or just upgrade it to get it back to where it's totally functional for September. Simon Bonenfant: Yeah. Keith Ford: But as time went on you'd have little glitches here and there but the quality of the equipment they have now for visually impaired students is a whole lot better, plus you're seeing ... Like say the iPhone, you have the accessibility options are built into the technology so it's technology that is used by sighted people but also could be used by blind and partially sighted so that brings the cost down. Keith Ford: You're also seeing, which I'm kind of excited about, up at the University of Michigan they're trying to build ... They're developing this ... It's like an iPad that will have refreshable Braille that will be less expensive. I've heard they're using, whether it's compressed air or some kind of gel technology to reproduce Braille cells on an iPad-like device with lines of Braille rather than the refreshable Braille units that are electronic and cost a lot more money. Simon Bonenfant Yeah, I know. Braille is very important. Keith Ford: But getting the cost down is really important. There's probably always going to be a need for paper Braille but I think as time goes on the paperless Braille is going to be more the case. Simon Bonenfant: Bring down the cost. Keith Ford: It'll be more common. Simon Bonenfant: Okay, yeah. Keith Ford: Being able to carry Braille in a small device like you have with you now certainly makes a lot more sense than those bulky Braille books. Simon Bonenfant: Yes. Keith Ford: But we're always going to have paper Braille and Perkins Braillers because things break down and you want to have a hard copy. Simon Bonenfant: Yeah. Keith Ford: But in their day I think the Perkins Brailler came out in the late 1950s. That was a really big deal when it came out. Simon Bonenfant: Oh, I know. I still use the Perkins Braille writer. When I transitioned to the Braille writer I used to think, I don't know if I'll ever use the Perkins Braille writer. But then I found a use for it and I'm like, you know, technology breaks down, stuff happens. With the Perkins Braille writer you don't need a battery, it works. Sometimes the best low-tech solutions are the most high-tech to get things done. Keith Ford: Yeah. I have a Perkins Brailler at home I used when I was working. It's a very reliable, very well-made piece of equipment and you always have to respect it. It'll always be there. 100 years from now it'll be still being used. Simon Bonenfant: Oh yeah. Keith Ford: But it's exciting to see all the new technology because it allows for blind and partially-sighted people to have greater access to the world in getting employment and right along with sighted people. It is a positive thing in the long-run. Simon Bonenfant: Oh yeah. Have you heard of the [iWear] application? Keith Ford: I've heard about that. I believe it's a device that you wear and then a sighted person at another location tells you what to look for or ... Simon Bonenfant: Yeah. It's a connection with a sighted agent and it can help in any kind of activity and it also helps in the mobility aspect. That's come a long way too because there are certain things that are not going to be visible with a cane like street signs or numbers on doors and things. That's something that [iWear 00:09:30] will help out with. The technology has come a long way with mobility and Braille and now we have things that will take print and read it out loud or take print that will put it in Braille material. Braille is getting to be more available these days. Keith Ford: Oh yeah. When I used to teach children Braille, children that were included within a regular environment, I used to work with a classroom teacher and we would teach the sighted children about Braille too. We'd have Braille cells all over the place and numbers on a child's desk in kindergarten. We'd have the name of the child in print and in Braille so that they could learn in class and get some experience with what their blind peer in the class was learning. It made it really nice. The kids enjoyed that and it helped the blind child to feel very much a part of the class. When I was teaching young blind children Braille readiness skills I used to do a lot of stuff like that, creative things, to just make everybody aware of Braille and they just thought that was neat. Simon Bonenfant Have you also used tactile diagrams, how to utilize them? Keith Ford: Well yeah, tactile graphics. I've used software that would produce tactile graphics for different things. Simon Bonenfant: Mm-hmm (affirmative). Keith Ford: And plus Patton, they would provide ... Simon Bonenfant: They do that. Yeah. Keith Ford: Textbooks that had tactile graphic illustrations inside with Thermoform. Simon Bonenfant: They're a wonderful service. That is still used today. Keith Ford: Absolutely. Simon Bonenfant: I think that's the one thing ... Reading Braille on the electronic display, that's great but I think Braille paper is always going to be needed because tactile diagrams and stuff that can't come up on a flat display. I used the Perkins Braille writer for math because you could have lines horizontally, vertically where when the Braille was placed just a flat and horizontal surface and you can't do the spatial element of Braille which is missing but on the paper you get that. Keith Ford: With this device that's being developed at the University of Michigan, it'll be like a Braille iPad which will just be like a sheet of Braille. The way it will produce lines and make it do graphs. From what I'm being told they'll be able to produce graphs and all kinds of tactile graphics on this new device. Simon Bonenfant: That's great. Keith Ford: Yeah. Simon Bonenfant: Keith, my final question is: What would be your advice to blind students who are in high school or either transitioning to college or to the workplace, and also what would be your advice to instructors who are thinking about going into this field? Keith Ford: I would say ... I'm real pragmatic. I would always tell students that they want to get into something that's going to lead to employment after college, so any kind of technology field would be beneficial. I would also say that you want to do some vocational interest training or testing. At Penn State here we have the CEDAR program and you can do some vocational interest testing with them. Keith Ford: It's always good to gather data about yourself, whatever you've achieved in life, whatever area you've shown any kind of aptitude and interest and you want to get into a field where there's a need for your services. Any kind of technology related kind of degree is always going to give you a better chance. Keith Ford: You were talking about ... The other part of your question about the instructors or people getting into the field. Simon Bonenfant: Yes. Keith Ford: Well you certainly want to have dual certification as an O&M instructor and a teacher of the visually impaired, that's really important to have that flexibility, you don't want to have just one. Simon Bonenfant: Right because you can get work in both and there's a high demand for that. Keith Ford: Yeah. The field is always changing. You want to get acquainted with this whole new system of cortical visual impairment. There's a whole new evaluation tool to get acquainted with that so that you can evaluate those kinds of students. You certainly want to gain as much ... And the programs I'm hearing about nowadays are putting much more emphasis on multi-impaired students, deaf-blind students, which wasn't the case when I was getting my university training because it was just a different time. Keith Ford: I would also mention the importance of just getting as much information and training and experience in dealing with just a wide range of visually impaired students. Simon Bonenfant: Yeah. Well, very nice. Keith, I want to thank you for coming on the program today, the podcast. Keith Ford: Okay. Simon Bonenfant: Thank you for sharing your insights with all of us. Have a good one. Keith Ford: Okay. Jeff Thompson: Once again, a big thank you goes out to our team correspondent, Simon Bonenfant and to Keith Ford for sharing with us his experiences as a BTVI and O&M instructor. And a huge thank you to Chee Chau for his beautiful music. That's @LCheeChau on Twitter. Once again, thank you for listening, hope you enjoyed and until next time, bye bye. [Music] [Transition noise] -When we share -What we see -Through each other's eyes... [Multiple voices overlapping, in unison, to form a single sentence] ...We can then begin to bridge the gap between the limited expectations, and the realities of Blind Abilities. Jeff Thompson: For more podcasts with the blindness perspective, check us out on the web at www.blindabilities.com, on Twitter at Blind Abilities. Download our app from the App Store, Blind Abilities. That's two words. Or send us an email at info@blindabilities.com. Thanks for listening.
You Inside Me by Tori Curtis It'll be fun, he'd said. Everyone's doing it. You don't have to be looking for romance, it's just a good way to meet people. "I don't think it's about romance at all," Sabella said. She wove her flower crown into her braids so that the wire skeleton was hidden beneath strands of hair. "I think if you caught a congressman doing this, he'd have to resign." "That's 'cause we've never had a vampire congressman," Dedrick said. He rearranged her so that her shoulders fell from their habitual place at her ears, her chin pointed up, and snapped photos of her. "Step forward a little—there, you look more like yourself in that light." Hello! Welcome to GlitterShip episode 57 for May 21st, 2018. This is your host, Keffy, and I'm super excited to share this story with you. GlitterShip is now part of the Audible afflilate program. What this means is that just by listening to GlitterShip, you are eligible to get a free audio book and 30 day trial at Audible to check out the service. If you're looking for more queer science fiction to listen to, there's a full audio book available of the Lightspeed Magazine "Queers Destroy Science Fiction" special issue, featuring stories by a large number of queer authors, including John Chu, Chaz Brenchley, Rose Lemberg, and many others. To download a free audiobook today, go to http://www.audibletrial.com/GlitterShip and choose an excellent book to listen to, whether that’s "Queers Destroy Science Fiction" or something else entirely. Today I have a story and a poem for you. The poem is "Dionysus in London" by Tristan Beiter. Tristan Beiter is a student at Swarthmore College studying English Literature and Gender and Sexuality Studies. He loves reading poetry and speculative fiction, some of his favorite books being The Waste Land, HD’s Trilogy, Mark Doty’s Atlantis, Frances Hardinge’s Gullstruck Island, and Madeline Miller’s The Song of Achilles. When not reading or writing, he can usually be found crafting absurdities with his boyfriend or yelling about literary theory. Dionysus in London by Tristan Beiter The day exploded, you know. Last night a womanwith big bouffant hair toldme, “Show me a storywhere the daughter runs into a stopsign and it literally turns into a white flower.” I fail to describea total eclipse and the throneof petrified wood sankinto the lakebed. James made love to Buckinghamwhile I pulled the honeysuckleto me, made a flower crown forthe leopards flanking mewhile I watched redand white invert themselves, whitepetals pushing from the center of the signas the post wilted until allthat remained was a giant lotuson the storm grate waitingto rot or wash away. I let it stay there while the Scottishking hid behind the Scottish playand walked behind me, one eye outfor the mark left when locked in.You go witchy in there—or at leastyou—or he, or I—learn to be afraidof the big coats and brassbuttons, like the ones in every hallcloset; you never know if they will turn,like yours, into bats and bugs and gianttarantulas made from wire hangers. The woman showed meour reflections in the shop windowwhile one or the otherman in the palace polishedthe silver for his lover’s tableand asked me whoI loved; I decidedon the creamlinen, since the woolwas too close to the pea coatthat hung by your door.I suppose that the catis under the car; that’s probably where it fled toas we walked, knowingwe already found thatthe ivy in your hair was artificialas the bacchanal, or yourevasion, Sire, of the question(and of the serpents who are wellworth the welloffered to them with the wet waxon my crown). I suppose the car is under the cat,in which case it must be a very largecat, or else a very small car.I eat your teeth. I see brilliantine teeth floatingin her thick red lipstick. Jamestears apart the rhododendronchattering (about) his incisorsand remembering the fleshand—nothing so exoticas a Sphinx, maybe a dustmote or lip-marksleft on the large leather chaise.Teeth gleam from the shadowswhere I wait, thyrsusraised with the conealmost touching the roofof the forest, to drown in a peacockas it swallows (chimneyswifts?) the sun—orwas it son—or maybe it wasjust a grape I fed it soit would eat the spiderscrawling from the closet.It struts across the palace greenlike it owns the place, likeit will replace the hunting-grounds with fields of stragglingmint that the kingwould never ask for. The woman teasesup her hair before the mirror, fillingthe restroom with hairsprayand big laughs before walking backinto the restaurant, where wewait to make ourselvesover—the way the throne didwhen the wood crumbled under thepressure of an untold story,leaving nothing but crystals and dust. We argued for an hour overwhether to mix leaves andflowers, plants and gems,before settling on fourcrowns, one for each of us. Her hair mostly covers hers.The cats will love it though,playing with teeththat were knocked into your winein the barfight (why did youorder wine in a placelike that, Buck?) and yougot replaced with gold, like Iwear woven in my braidsas the sun sets on the daughterthat, unsurprisingly, noneof us have. But if we did, she would turn yieldsigns into dahlias andthat would be the signto move on with the leopardsand their flashing teeth andbrass eyes and listen.To the walls and rivers,to the sculpture that is farwhiter than me falling. Andto the peacock which has justeaten another bug so you don’t have tokill it. Get yourself a dresserand cover it with white enamelit’ll hold up, and no insectslive in dressers. Keep the ivy and the pineconein a mother-of-pearl trinket boxwith your plastic volumizing hairinserts and jeweled combs.And put a cat and dolphinon it, to remember. Next, our short story this episode is "You Inside Me" by Tori Curtis Tori Curtis writes speculative fiction with a focus on LGBT and disability issues. She is the author of one novel, Eelgrass, and a handful of short stories. You can find her at toricurtiswrites.com and on Twitter at @tcurtfish, where she primarily tweets about how perfect her wife is. CW: For descriptions of traumatic surgery. You Inside Me by Tori Curtis It'll be fun, he'd said. Everyone's doing it. You don't have to be looking for romance, it's just a good way to meet people. "I don't think it's about romance at all," Sabella said. She wove her flower crown into her braids so that the wire skeleton was hidden beneath strands of hair. "I think if you caught a congressman doing this, he'd have to resign." "That's 'cause we've never had a vampire congressman," Dedrick said. He rearranged her so that her shoulders fell from their habitual place at her ears, her chin pointed up, and snapped photos of her. "Step forward a little—there, you look more like yourself in that light." He took fifteen minutes to edit her photos ("they'll expect you to use a filter, so you might as well,") and pop the best ones on her profile. Suckr: the premier dating app for vampires and their fanciers. "It's like we're cats," she said. "I heard you like cats," he agreed, and she sighed. Hi, I'm Sabella. I've been a vampire since I was six years old, and I do not want to see or be seen by humans. I'm excited to meet men and women between the ages of eighteen and sixty-five. "That's way too big of an age range," Dedrick said. "You want to be compatible with these people." "Yeah, compatible. Like my tissue type." "You don't want to end up flirting with a grandpa." I'm excited to meet men and women between the ages of twenty and thirty-five. I'm most proud of my master's degree. You should message me if you're brave and crazy. It took days, not to mention Dedrick’s exasperated return, before she went back on Suckr. She paced up the beautiful wood floors of her apartment, turning on heel at the sole window on the long end and the painted-over cast-iron radiator on the short. When she felt too sick to take care of herself, her mom came over and put Rumors on, wrapped her in scarves that were more pretty than functional, warmed some blood and gave it to her in a sippy cup. Sabella remembered nothing so much as the big Slurpees her mom had bought her, just this bright red, when she’d had strep the last year she was human. She wore the necklace Dedrick had given her every day. It was a gold slice of pepperoni pizza with “best” emblazoned on the back (his matched, but read “friends,”), and she fondled it like a hangnail. She rubbed the bruises on her arms, where the skin had once been clear and she'd once thought herself pretty in a plain way, like Elinor Dashwood, as though she might be able to brush off the dirt. She called her daysleeper friends, texted acquaintances, and slowly stopped responding to their messages as she realized how bored she was of presenting hope day after day. 2:19:08 bkissedrose: I'm so sorry. 2:19:21 bkissedrose: I feel like such a douche 2:19:24 sabellasay: ??? 2:20:04 sabellasay: what r u talkin about 2:25:56 bkissedrose: u talked me down all those times I would've just died 2:26:08 sabellasay: it was rly nbd 2:26:27 bkissedrose: I've never been half as good as you are 2:26:48 bkissedrose: and now you're so sick 2:29:12 sabellasay: dude stop acting like i'm dying 2:29:45 sabellasay: I can't stand it 2:30:13 bkissedrose: god you're so brave (sabellasay has become inactive) "Everyone keeps calling me saying you stopped talking to them," Dedrick said when he made it back to her place, shoes up on the couch now that he'd finally wiped them of mud. "Should I feel lucky you let me in?" "I'm tired," she said. "It's supposed to be a symptom. I like this one, I think she has potential." He took her phone and considered it with the weight of a father researching a car seat. "A perfect date: I take you for a ride around the lake on my bike, then we stop home for an evening snack." "She means her motorcycle," Sabella clarified. He rolled his eyes and continued reading. "My worst fear: commitment." "At least she's honest." "That's not really a good thing. You're not looking for someone to skip out halfway through the movie." "No, I'm looking for someone who's not going to be heartbroken when I die anyway." Dedrick sighed, all the air going out of his chest as it might escape from dough kneaded too firmly, and held her close to him. "You're stupid," he told her, "but so sweet." "I think I'm going to send her a nip." The girl was named Ash but she spelled it A-I-S-L-I-N-G, and she seemed pleased that Sabella knew enough not to ask lots of stupid questions. They met in a park by the lakeside, far enough from the playground that none of the parents would notice the fanged flirtation going on below. If Aisling had been a boy, she would have been a teen heartthrob. She wore her hair long where it was slicked back and short (touchable, but hard to grab in a fight) everywhere else. She wore a leather jacket that spoke of a once-in-a-lifetime thrift store find, and over the warmth of her blood and her breath she smelled like bag balm. Sabella wanted to hide in her arms from a fire. She wanted to watch her drown trying to save her. Aisling parked her motorcycle and stowed her helmet before coming over to say hi—gentlemanly, Sabella thought, to give her a chance to prepare herself. “What kind of scoundrel left you to wait all alone?” Aisling asked, with the sort of effortlessly cool smile that might have broken a lesser woman’s heart. “I don’t know,” Sabella said, “but I’m glad you’re here now.” Aisling stepped just inside her personal space and frowned. “I’m sorry, I don’t mean to be rude,” she said, “but are you—" “I’m trans, yes,” Sabella interrupted, and smiled so wide she could feel the tension at her temples. Like doing sit-ups the wrong way for years, having this conversation so many times hadn’t made it comfortable, only routine. “We don’t need to be awkward about it.” “Okay,” Aisling agreed, and sat on the bench, helping Sabella down with a hand on her elbow. “I meant that you seem sick.” She looked uneasy, and Sabella sensed that she had never been human. Vampires didn’t get sick—she had probably never had more than a headache, and that only from hunger. “Yes,” Sabella said. “I am sick. I’m not actually—I mentioned this on my profile—I’m not actually looking for love.” “I hope you won’t be too disappointed when it finds you,” Aisling said, and Sabella blushed, reoriented herself with a force like setting a bone, like if she tried hard enough to move in one direction she’d stop feeling like a spinning top. “I’m looking for a donor,” she said. “Yeah, all right,” Aisling said. She threw her arm over the back of the bench so that Sabella felt folded into her embrace. “I’m always willing to help a pretty girl out.” “I don’t just mean your blood,” she said, and felt herself dizzy. It was easier for Sabella to convince someone to do something than it was for her to ask for it. Her therapist had told her that, and even said it was common, but he hadn’t said how to fix it. “Please, may I have your liver” was too much to ask, and “Please, I don’t want to die” was a poor argument. “So, you would take my liver—" “It would actually only be part of your liver,” Sabella said, stopping to catch her breath. She hadn’t been able to go hiking since she’d gotten so sick—she needed company, and easy trails, and her friends either didn’t want to go or, like her mom, thought it was depressing to watch her climb a hill and have to stop to spit up bile. “So we would each have half my liver, in the end.” Sabella shrugged and looked into the dark underbrush. If she couldn’t be ethical about this, she wouldn’t deserve a liver. She wouldn’t try to convince Aisling until she understood the facts. “In humans, livers will regenerate once you cut them in half and transplant them. Like how kids think if you cut an earthworm in half, you get two. Or like bulbs. Ideally, it would go like that.” “And if it didn’t go ideally?” (“Turn me,” Dedrick said one day, impulsively, when she’d been up all night with a nosebleed that wouldn’t stop, holding her in his lap with his shirt growing polka-dotted. “I’ll be a vampire in a few days, we can have the surgery—you’ll be cured in a week.”) “If it doesn’t go ideally,” Sabella said, “one or both of us dies. If it goes poorly, I don’t even know what happens.” She stepped off the tree and set her next target, a curve in the trail where a tree had fallen and the light shone down on the path. Normally these days she didn’t wear shoes but flip-flops, but this was a date, and she’d pulled her old rainbow chucks out of the closet. Aisling walked with her silently, keeping pace, and put an arm around her waist. Sabella looked up and down the trail. Green Lake was normally populated enough that people kept to their own business, and these days she felt pretty safe going about, even with a girl. But she checked anyway before she leaned into Ais’s strength, letting her guide them so that she could use all her energy to keep moving. “But if it doesn’t happen at all, you die no matter what?” Sabella took a breath. “If you don’t want to, I look for someone else.” Her mom was waiting for her when Sabella got home the next morning. Sabella’s mother was naturally blonde, tough when she needed to be, the sort of woman who could get into hours-long conversations with state fair tchotchke vendors. She’d gotten Sabella through high school and into college through a careful application of stamping and yelling. When Sabella had started calling herself Ravynn, she’d brought a stack of baby name books home and said, “All right, let’s find you something you can put on a resume.” “Mom,” she said, but smiling, “I gave you a key in case I couldn’t get out of bed, not so you could check if I spent the night with a date.” “How’d it go? Was this the girl Dedrick helped you find?” “Aisling, yeah,” Sabella said. She sat on the recliner, a mountain of accent pillows cushioning her tender body. “It was good. I like her a lot.” “Did she decide to get the surgery?” “I don’t know. I didn’t ask her to choose.” “Then what did you two do all night?” Sabella frowned. “I like her a lot. We had a good time.” Her mom stood and put the kettle on, and Sabella couldn’t help thinking what an inconvenience she was, that her mother couldn’t fret over her by making toast and a cup of tea. “Christ, what decent person would want to do that with you?” “We have chemistry! She’s very charming!” She examined Sabella with the dissatisfied air of an artist. “You’re a mess, honey. You’re so orange you could be a jack-o-lantern, and swollen all over. You look like you barely survived a dogfight. I don’t even see my daughter when I look at you anymore.” Sabella tried to pull herself together, to look more dignified, but instead she slouched further into the recliner and crossed her arms over her chest. “Maybe she thinks I’m funny, or smart.” “Maybe she’s taking advantage. Anyone who really cared about you wouldn’t be turned on, they’d be worried about your health.” Sabella remembered the look on Aisling’s face when she’d first come close enough to smell her, and shuddered. “I’m not going to ask her to cut out part of her body for me without thinking about it first,” she said. “Without giving her something in return?" her mom asked. "It's less than two pounds." “But it’s still her choice,” Sabella said. “I’m starting to wonder if you even want to live,” her mom said, and left. Sabella found the energy to go turn off the stovetop before she fell asleep. (Her mother had raised her responsible.) 12:48:51 bkissedrose: what happens to a dream bestowed 12:49:03 bkissedrose: upon a girl too weak to fight for it? 12:53:15 sabellasay: haha you can’t sleep either? 12:53:38 sabellasay: babe idk 12:55:43 sabellasay: is it better to have loved and lost 12:56:29 sabellasay: than to die a virgin? 1:00:18 bkissedrose: I guess I don’t know 1:01:24 bkissedrose: maybe it depends if they're good “It’s nice here,” Aisling confessed the third time they visited the lake. Sabella and her mom weren’t talking, but she couldn’t imagine it would last more than a few days longer, so she wasn’t worried. “I’d never even heard of it.” “I grew up around here,” Sabella said, “and I used to take my students a few times a year." “You teach?” “I used to teach,” she said, and stepped off the trail—the shores were made up of a gritty white sand like broken shells—to watch the sinking sun glint off the water. “Seventh grade science.” Aisling laughed. “That sounds like a nightmare.” “I like that they’re old enough you can do real projects with them, but before it breaks off into—you know, are we doing geology or biology or physics. When you’re in seventh grade, everything is science.” She smiled and closed her eyes so that she could feel the wind and the sand under her shoes. She could hear birds settling and starting to wake, but she couldn’t place them. “They’ve got a long-term sub now. Theoretically, if I manage to not die, I get my job back.” Aisling came up behind her and put her arms around her. Sabella knew she hadn’t really been weaving—she knew her limits well enough now, she hoped—but she felt steadier that way. “You don’t sound convinced.” “I don’t think they expect to have to follow through,” Sabella admitted. “Sometimes I think I’m the only one who ever thinks I’m going to survive this. My mom’s so scared all the time, I know she doesn’t.” Aisling held her not tight but close, like being tucked into a bright clean comforter on a cool summer afternoon. “Can I ask you a personal question?” she said, her face up against Sabella’s neck so that every part of Sabella wanted her to bite. “Maybe,” she said, then thought better of it. “Yes.” “How’d you get sick? I didn’t think we could catch things like that. Or was it while you were human?” “Um, no, but I’m not contagious, just nasty.” Aisling laughed, and she continued, encouraged. “Mom would, you know, once I came out I could do pretty much whatever I wanted, but she wouldn’t let me get any kind of reconstructive surgery until I was eighteen. She thought it was creepy, some doc getting his hands all over her teenage kid.” “Probably fair.” “So I’m eighteen, and she says okay, you’re right, you got good grades in school and you’re going to college like I asked, I'll pay for whatever surgery you want. And you have to imagine, I just scheduled my freshman orientation, I have priorities." "Which are?" "Getting laid, mostly." “Yeah, I remember that.” “So I’m eighteen and hardly ever been kissed, I’m not worried about the details. I don’t let my mom come with me, it doesn’t even occur to me to see a doctor who’s worked with vampires before, I just want to look like Audrey Hepburn's voluptuous sister.” “Oh no,” Ash said. It hung there for a moment, the dread and Sabella’s not being able to regret that she’d been so stupid. “It must have come up.” “Sure. He said he was pretty sure it would be possible to do the surgery on a vampire, he knew other surgeries had been done. I was just so excited he didn’t say no.” Ash held her tight then, like she might be dragged away otherwise, and Sabella knew that it had nothing to do with her in particular, that it was only the protective instinct of one person watching another live out her most plausible nightmare. “What did he do to you?” “It wasn’t his fault,” she said, and then—grimacing, she knew her mother would have been so angry with her—“at least, he didn’t mean anything by it. He never read anything about how to adapt the procedure to meet my needs.” She sounded so clinical, like she’d imbibed so many doctors’ explanations of what had happened that she was drunk on it. “But neither did I. We both found out you can’t give vampires a blood transfusion.” "Why would you need to?" She shrugged. "You don't, usually, in plastic surgery." "No," Aisling interrupted, "I mean, why wouldn't you drink it?" Sabella tried to remember, or tried not to be able to, and tucked her cold hands into her pockets. "You're human, I guess. Anyway, I puked all over him and the incision sites, had to be hospitalized. My doctor says I'm lucky I'm such a good healer, or I'd need new boobs and a new liver." They were both quiet, and Sabella thought, this is it. You either decide it's too much or you kiss me again. She thought, I miss getting stoned with friends and telling shitty surgery stories and listening to them laugh. I hate that when I meet girls their getting-to-know-you involves their Youtube make-up tutorials and mine involves "and then, after they took the catheter out..." "Did you sue for malpractice, at least?" Ash asked, and Sabella couldn't tell without looking if her tone was teasing or wistful. "My mom did, yeah. When they still wanted her to pay for the damn surgery." Aisling pulled up to the front of Sabella's building and stopped just in front of her driveway. She kicked her bike into park and stepped onto the sidewalk, helping Sabella off and over the curbside puddle. Sabella couldn't find words for what she was thinking, she was so afraid that her feelings would shatter as they crystallized. She wanted Ais to brush her hair back from her face and comb out the knots with her fingers. She wanted Ais to stop by to shovel the drive when there was lake effect snow. She wanted to find 'how to minimize jaundice' in the search history of Aisling's phone. “You’re beautiful in the sunlight,” Ais said, breaking her thoughts, maybe on purpose. “Like you were made to be outside.” Sabella ducked her head and leaned up against her. The date was supposed to be over, go inside and let this poor woman get on with her life, but she didn’t want to leave. “It’s nice to have someone to go with me,” she said. “Especially with a frost in the air. Sometimes people act like I’m so fragile.” “Ridiculous. You’re a vampire.” Her ears were cold, and she pressed them against Aisling’s jawbone. She wondered what the people driving past thought when they saw them. She thought that maybe the only thing better than surviving would be to die a tragic death, loved and loyally attended. “I was born human.” “Even God makes mistakes.” Sabella smiled. “Is that what I am? A mistake?” “Nah,” she said. “Just a happy accident.” Sabella laughed, thought you're such a stoner and I feel so safe when you look at me like that. "I'll do it," Ais said. "What do I have to do to set up the surgery?" Sabella hugged her tight, hid against her and counted the seconds—one, two, three, four, five—while Ais didn't change her mind and Sabella wondered if she would. "I have to stress how potentially dangerous this is," Dr. Young said. "I can't guarantee that it will work, that either of you will survive the procedure or the recovery, or that you won't ultimately regret it." Aisling was holding it together remarkably well, Sabella thought, but she still felt like she could catch her avoiding eye contact. Sabella had taken the seat in the doctor's office between her mother and girlfriend, and felt uncomfortable and strange no matter which of their hands she held. "Um," Ais said, and Sabella could feel her mother's judgment at her incoherence, "you said you wouldn't be able to do anything for the pain?" To her credit, the doctor didn't fidget or look away. Sabella, having been on the verge of death long enough to become something of a content expert, believed that it was important to have a doctor who was upfront about how terrible her life was. "I wouldn't describe it as 'nothing,' exactly," she said. "There aren't any anesthetics known to work on vampires, but we'll make you as comfortable as possible. You can feed immediately before and as soon as you're done, and that will probably help snow you over." "Being a little blood high," Ais clarified. "While you cut out my liver." "Yes." Sabella wanted to apologize. She couldn't find the words. Aisling said, "Well, while we're trying to make me comfortable, can I smoke up, too?" Dr. Young laughed. It wasn't cruel, but it wasn't promising, either. "That's not a terrible idea," she said, "but marijuana increases bleeding, and there are so many unknown variables here that I'd like to stick to best practices if we can." "I can just—" Sabella said, and choked. She wasn't sure when she'd started crying. "Find someone else. Dedrick will do it, I know." Aisling considered this. The room was quiet, soft echoes on the peeling tile floor. Sabella's mother put an arm around her, and she felt tiny, but in the way that made her feel ashamed and not protected. Aisling said, "Why are you asking me? Is there something you know that I don't?" Dr. Young shook her head. "I promise we're not misrepresenting the procedure," she said. "And theoretically, it might be possible with any vampire. But there aren't a lot of organ transplants in the literature—harvesting, sure, but not living transplants—and I want to get it right the first time. If we have a choice, I told Sabella I'd rather use a liver from a donor who was born a vampire. I think it'll increase our chance of success." "A baby'd be too weak," Aisling agreed. Her voice was going hard and theoretical. "Well, tell me something encouraging." "One of the first things we'll do is to cut through almost all of your abdominal nerves, so that will help. And there's a possibility that the experience will be so intense that you don't remember it clearly, or at all." Sabella's mother took a shaky breath, and Sabella wished, hating herself for it, that she hadn't come. Ais said, "Painful. You mean, the experience will be so painful." "If you choose to go forward with it," Dr. Young said, "we'll do everything we can to mitigate that." Sabella had expected that Aisling would want space and patience while she decided not to die a horrible, painful death to save her. It was hard to tell how instead they ended up in her bed with the lights out, their legs wound together and their faces swollen with sleep. Sabella was shaking, and couldn’t have said why. Ais grabbed her by her seat and pulled her up close. “You said you couldn’t get me sick?” she asked. “No,” Sabella agreed. “Although my blood is probably pretty toxic.” Ais kissed her, the smell of car exhaust still stuck in her hair. “What a metaphor,” she murmured, and lifted her chin. “You look exhausted.” Sabella thought, Are you saying what I think you’re saying? and, That’s a terrible idea, and said, “God, I want to taste you.” “Well, baby,” Ais said, and her hands were on Sabella so she curled her lips and blew her hair out of her eyes, “that’s what I’m here for.” Sabella had been human once, and she remembered what food was like. The standard lie, that drinking blood was like eating a well-cooked steak, was wrong but close enough to staunch the flow of an interrogation. (She’d had friends and exes, turned as adults, who said it was like a good stout on tap, hefty and refreshing, but she thought they might just be trying to scandalize her.) Ais could have been a stalk of rhubarb or August raspberries. She moved under Sabella and held her so that their knees pressed together. She could have been the thrill of catching a fat thorny toad in among the lettuce at dusk, or a paper wasp in a butterfly net. She felt like getting tossed in the lake in January; she tasted like being wrapped in fleece and gently dried before the fire; her scent was what Sabella remembered of collapsing, limbs aquiver, on the exposed bedrock of a mountaintop, nothing but crushed pine and the warmth of a moss-bed. She woke on top of Ais, licking her wounds lazily—she wanted more, but she was too tired to do anything about it. “That’s better,” Ais whispered, and if she was disappointed that this wasn’t turning into a frenzy, she didn’t show it. They were quiet for long enough that the haze started to fade, and then Aisling said, “I couldn’t ask in front of your mother, but was it like that with your surgery? They couldn’t do anything for the pain?” Sabella shifted uncomfortably, rolled over next to Ais. “I was conscious, yes.” “Do you remember it?” It was a hard question. She wanted to say it wasn’t her place to ask. She tried to remember, and got caught up in the layers of exhaustion, the spaces between the body she’d had, the body she’d wanted, and what they had been doing to her. “Sounds and sensations and thoughts, mostly,” she said. Ais choked, and said, “So, everything,” and Sabella realized—she didn’t know how she hadn’t—how scared she must be. “No, it’s blurry,” she said instead. “I remember, um, the tugging at my chest. I kept thinking there was no way my skin wasn’t just going to split open. And the scraping sounds. They’ve got all these tools, and they’re touching you on the inside and the outside at the same time, and that’s very unsettling. And this man, I think he was the PA, standing over me saying, ‘You’ve got to calm down, honey.’” “Were you completely freaking out?” Ais asked. Sabella shook her head. Her throat hurt. “No. I mean—I cried a little. Not as much as you’d think. They said if I wasn’t careful, you know, with swallowing at the right times and breathing steady, they might mess up reshaping my larynx and I could lose my voice.” Ais swore, and Sabella wondered if she would feel angry. (Sometimes she would scream and cry, say, can you imagine doing that to an eighteen-year-old?) Right now she was just tired. “How did you manage?” “I don’t know,” she admitted. “I think just, it was worth more to me to have it done than anything else. So I didn’t ever tell them to stop.” “Please don’t go around telling people I think this is an acceptable surgical set-up,” Dr. Young said, looking around the exam room. It reminded Sabella of a public hearing, the way the stakeholders sat at opposing angles and frowned at each other. Dr. Young sat next to Dr. Park, who would be the second doctor performing the procedure. Sabella had never met Dr. Park before, and her appearance—young, mostly—didn’t inspire confidence. Sabella sat next to her mother, who held her hand and a clipboard full of potential complications. Ais crossed her fingers in her lap, sat with a nervous child’s version of polite interest. Time seemed not to blur, but to stutter, everything happening whenever. “Dr. Park,” Sabella’s mother said, “do you have any experience operating on vampires?” Dr. Park grinned and her whole mouth seemed to open up in her face, her gums pale pink as a Jolly Rancher and her left fang chipped. “Usually trauma or obstetrics,” she admitted. “Although this is nearly the same thing.” “I’m serious,” Sabella’s mom said, and Sabella interrupted. “I like her,” she said. And then—it wasn’t really a question except in the sense that there was no way anyone could be sure—“You’re not going to realize halfway through the surgery that it’s too much for you?” Dr. Park laughed. “I turned my husband when we were both eighteen,” she said as testament to her cruelty. Sabella’s mom jumped. “Jesus Christ, why?” She shrugged, languid. Ais and Dr. Young were completely calm; Ais might have had no frame of reference for what it was like to watch someone turn, and Dr. Young had probably heard this story before. “His parents didn’t like that he was dating a vampire. You’ll do crazy things for love.” Sabella could see her mother blanch even as she steadied. It wasn’t unheard of for a vampire to turn their spouse—less common now that it was easier to live as a vampire, and humans were able to date freely but not really commit. But she could remember being turned, young as she had been: the gnawing ache, the hallucinations, the thirst that had only sometimes eclipsed the pain. It was still the worst thing that she’d ever experienced, and she was sure her mother couldn’t understand why anyone would choose to do it to someone they loved. “Good,” she said. “You won’t turn back if we scream.” Dr. Young frowned. “I want you to know you have a choice,” she said. She was speaking to Ais; Sabella had a choice, too, but it was only between one death and another. “There will be a point when you can’t change your mind, but by then it’ll be almost over.” Ais swore. It made Dr. Park smile and Sabella’s mom frown. Sabella wondered if she was in love with her, or if it was impossible to be in love with someone who was growing a body for them to share. “Don’t say that,” Ais said. “I don’t want to have that choice.” The morning of the surgery, Aisling gave Sabella a rosary to wear with her pizza necklace, and when they kicked Sabella’s mom out to the waiting room, she kissed them both as she went. “I like your mom,” Ais said shyly. They lay in cots beside each other, just close enough that they could reach out and hold hands across the gap. “I bet she’d get along with mine.” Sabella laughed, her eyes stinging, threw herself across the space between them and kissed each of Ais’s knuckles while Ais said, “Aw, c’mon, save it ‘til we get home.” “Isn’t that a lot of commitment for you?” Sabella asked. “Yeah, well,” Ais said, caught, and gave her a cheesy smile. “You’re already taking my liver, at least my heart won’t hurt so much.” They drank themselves to gorging while nurses wrapped and padded them in warm blankets. Ais was first, for whatever measure of mercy that was, and while they were wheeled down the dizzying white hallway, she grinned at Sabella, wild, some stranger’s blood staining her throat to her nose. “You’re a real looker,” she said, and Sabella laughed over her tears. “Thank you,” Sabella said. “I mean, really, for everything.” Ais winked at her; Sabella wanted to run away from all of this and drink her in until they died. “It’s all in a day’s work, ma’am,” she said. It wasn’t, it couldn’t have been, and Sabella loved her for pretending. Ais hissed, she cried, she asked intervention of every saint learned in K-12 at a Catholic school. A horrible gelatinous noise came as Dr. Young’s gloves touched her innards, and Ais moaned and Sabella said, “You have to stop, this is awful,” and the woman assigned to supervise her held her down and said hush, honey, you need to be quiet. And the doctors’ voices, neither gentle nor unkind: We’re almost done now, Aisling, you’re being so brave. And: It’s a pity she’s too strong to pass out. Sabella went easier, hands she couldn’t see wiping her down and slicing her open while Dr. Park pulled Ais’s insides back together. She’d been scared for so long that the pain didn’t frighten her; she kept asking “Is she okay? What’s happening?” until the woman at her head brushed back her hair and said shh, she’s in the recovery room, you can worry about yourself now. It felt right, fixing her missteps with pieces of Ais, and when Dr. Young said, “There we go, just another minute and you can go take care of her yourself,” Sabella thought about meromictic lakes, about stepping into a body so deep its past never touched its present. END "Dionysus in London" is copyright Tristan Beiter 2018. "You Inside Me" is copyright Tori Curtis 2018. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and we'll be back soon with a reprint of "The City of Kites and Crows" by Megan Arkenberg.
Welcome to If the Apocalypse Comes, Beep Me, also known as I Wear the Cheese, It Does Not Wear Me. This week we look at "What's My Line, Pt. 2!" We talk plots, we talk firsts, we get deep into Slayer lore (or what there is of lore), accents and the communicative burden. As Kelly notes about the episode, "accepting help from others can be hard, and scary, but is often beneficial," and just like Buffy and Kendra being stronger together, so are you and us! Full show notes at our website and @beepmepod on Twitter, Instagram and Tumblr, all the usual suspects.
We kick things off with some listener email, specifically defining what makes a “Mike Meade game." From there, we come … Continue reading "The TouchArcade Show – 275 – “I Wear the Cargo Shorts”"
Chuck Klosterman is the author of six books of nonfiction and two novels. His most recent book, "I Wear the Black Hat: Grappling with Villains (Real and Imagined)" was a New York Times bestseller. In the two most recent issues of GQ, Klosterman has interviewed Taylor Swift and Tom Brady. In fact, he's done several celebrity interviews this year, including Kobe Bryant and Eddie Van Halen. He’s written for Grantland, Esquire, GQ, Spin, the Washington Post, the Guardian, the Believer, and the A.V. Club. He currently serves as The Ethicist for the New York Times Magazine.
It's the fifth anniversary of Beginnings, and to celebrate, I have a wonderful episode for you with writer Chuck Klosterman. Originally from Minnesota, Chuck is the author of numerous fiction and non-fiction books, including his quasi-memoir Fargo Rock City, his acclaimed essay collection Sex, Drugs and Cocoa Puffs and novels like Downtown Owl. Chuck has also written for GQ, Esquire, Spin, The Washington Post, The Guardian, Grantland, The Believer and also writes the weekly The Ethicist column in the New York Times. His most recent collection is I Wear the Black Hat.This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.
It has been argued that more evil is committed in the name of banality, than purpose. Certainly a look at our current golden age of television, confirms that. Don Draper, Walter White, and Tony Soprano never really seem to make up their minds about being good or evil.So what’s the zeitgeist of our culture that separates hero from villain and what's different today than say in the 90’s or even the 50’s?Who better to ask than Chuck Klosterman, The Ethicist for the NY Times Magazine, and the bestselling author of seven previous books, including Sex, Drugs and Cocoa Puffs no looks into our confusion about good and evil in I Wear the Black Hat: Grappling with Villains (Real and Imagined)My conversation with Chuck Klosterman:
The show started with Don sharing his recent [Systematic](http://5by5.tv/systematic/76) experience. Ben then wanted some help with a prevalence calculation, as prompted by his undergraduate lecturer [Ronald Brooks](http://www.uoguelph.ca/ib/people/faculty/brooks.shtml). The guys then reminisced about their high school teachers before turning on the freezing weather and frozen food, thanks to [AFFI-CON 2014](http://afficon.affi.org/). In answer to a listener question on the 4-hour rule, Don shared his [recent JFP paper](http://www.ingentaconnect.com/content/iafp/jfp/2013/00000076/00000006/art00023). Similar calculations (also by Don) have been used by a Conference for Food Protection (CFP) committee to develop guidance on lack of temperature control during emergency situations. That guidance will be presented as part of the [2014 CFP](http://www.foodprotect.org/). Thanks to the book ["I Wear the Black Hat"](http://www.amazon.com/Wear-Black-Hat-Grappling-Villains/dp/1439184496), Ben has really gotten back into heavy metal, especially [Metallica](https://www.metallica.com/), while Don's been re-reading [The Sandman](http://en.wikipedia.org/wiki/The_Sandman_(Vertigo)). This got the guys into a discussion of [DC Comics](http://www.dccomics.com/) versus [Marvel Comics](http://marvel.com/). In the IAFP History segment the guys covered the 1980's, which saw the introduction of new technologies, like vacuum packaging and irradiation, the emergence of new pathogens, such as [*E. coli* O157:H7](http://www.about-ecoli.com/), [*Listeria monocytogenes*](http://www.about-listeria.com/) and [*Campylobacter*](http://www.about-campylobacter.com/), as well as [zero tolerance](http://en.wikipedia.org/wiki/Zero_tolerance_(trade)). The guys then speculated about the [*Salmonella* Stanley outbreak linked to raw cashew cheese](http://www.cdc.gov/salmonella/stanley-01-14/index.html), before turning their attention to the [Fox and Donkey meat scandal in China](http://www.theatlantic.com/international/print/2014/01/chinas-latest-food-scandal-fox-tainted-donkey-meat/282776/) and the [potential zoonotic food safety risks associated with foxes](http://www.vef.unizg.hr/vetarhiv/papers/2006-76-7-10.pdf). Ben then got a buzz from the [12 Surprising things you can make with a coffee pot](http://www.buzzfeed.com/arielknutson/surprising-things-you-can-make-with-a-coffee-pot), because it reminded of his college days. He's considering including the [poaching chicken in a coffee maker](http://www.gizmodo.com.au/2009/08/macgyver-chef-poached-chicken-and-couscous-in-a-coffee-maker/) as part of the dishwasher cooking research project discussed on earlier episodes. While there was plenty of wacky stuff on the interwebs over the holidays, [this Wall Street Journal article about a frog in a Pret A Manger salad](http://blogs.wsj.com/speakeasy/2013/12/30/dead-frog-found-in-pret-a-manger-salad/) got Don all jumpy about Pret A Manger's knowledge about pesticides and food safety. The guys finished the show discussing the Food Safety News article on "[How to Break a Foodborne Illness Story](http://www.foodsafetynews.com/2014/01/publishers-platform-how-to-break-a-foodborne-illness-story/)." In the after dark, Ben shared his work habits and this turned into a discussion of Don and Ben's favourite [Starbucks](http://www.starbucks.com/). The guys then shared some movies and TV shows they like, including [Saving Mr Banks](http://www.imdb.com/title/tt2140373/), [American Hustle](http://www.imdb.com/title/tt1800241/?ref_%3Dfn_al_tt_1), [Back to the Future](http://www.universalstudiosentertainment.com/back-to-the-future-25th-anniversary-edition/) (I, II and III), [Honey, I shrunk the Kids](http://www.imdb.com/title/tt0097523/), [Despicable me](http://www.imdb.com/title/tt1323594/), [Call the Midwife](http://en.wikipedia.org/wiki/Call_the_Midwife) and [Last Tango in Halifax](http://www.imdb.com/title/tt2216156/).
I Wear The Black Hat (Scribner Book Company) From New York Times bestselling author, "one of America's top cultural critics" (Entertainment Weekly), and "The Ethicist" for The New York Times Magazine, comes a new book of all original pieces on villains and villainy. Chuck Klosterman has walked into the darkness. As a boy, he related to the cultural figures who represented goodness--but as an adult, he found himself unconsciously aligning with their enemies. This was not because he necessarily liked what they were doing; it was because they were doing it on purpose (and they were doing it better). They wanted to be evil. And what, exactly, was that supposed to mean? When we classify someone as a bad person, what are we really saying (and why are we so obsessed with saying it)? In I Wear the Black Hat, Klosterman questions the very nature of how modern people understand the concept of villainy. What was so Machiavellian about Machiavelli? Why don't we see Batman the same way we see Bernhard Goetz? Who's more worthy of our vitriol--Bill Clinton or Don Henley? What was O.J. Simpson's second-worst decision? And why is Klosterman still obsessed with some kid he knew for one week in 1985? Masterfully blending cultural analysis with self-interrogation and limitless imagination, I Wear the Black Hat delivers perceptive observations on the complexity of the anti-hero (seemingly the only kind of hero America still creates). I Wear the Black Hat is the rare example of serious criticism that's instantly accessible and really, really funny. Klosterman is the only writer doing whatever it is he's doing. Chuck Klosterman is the New York Times bestselling author of seven previous books, including Sex, Drugs, and Cocoa Puffs; Eating the Dinosaur; Killing Yourself to Live; and The Visible Man. His debut book, Fargo Rock City, was the winner of the ASCAP-Deems Taylor Award. He has written for GQ, Esquire, Spin, The Washington Post, The Guardian, The Believer, and The Onion A.V. Club. He currently serves as “The Ethicist” for the New York Times Magazine and writes about sports and popular culture for ESPN. THIS EVENT WAS RECORDED LIVE AT SKYLIGHT BOOKS JULY 17, 2013. COPIES OF THE BOOK FROM THIS EVENT CAN BE PURCHASED HERE: http://www.skylightbooks.com/book/9781439184493
Susan began her career as a writer for Washington Post fashion editor Nina Hyde. There she wrote features for the paper's Style section. She moved on to Seventeen magazine as a fashion, beauty and trends editor. She was also a columnist for the New York Post. Her articles and essays have appeared in numerous national publications including Ladies' Home Journal, Travel & Leisure, First for Women and Parade. She is a regular columnist for AOL/Patch.com and Catholic Digest. For two years, Susan was co-host of the popular "Speak Now...with Dave and Susan Konig"on Sirius Satellite radio with her Emmy Award-winning comedian husband Dave Konig. Her first book Why Animals Sleep So Close to the Road (and Other Lies I Tell My Children) was called "brilliant, witty, and downright Bombeckian" by USA Today. Her follow-up I Wear the Maternity Pants in This Family was a Parade Pick in Parade magazine. Her next book: Teenagers and Toddlers Are Trying to Kill Me! from Willow Street Press in 2011. WWW.SUSANKONIG.COM
Spécial Halloween avec le comédien François-Étienne Paré! Des lunettes pour visionner vos vidéos, une roche musicale, un robot signé Lego, un lapin qui vous informe, un gadget d'espion... et une brosse à dents! Top branché, 1re partie Ah, l'Halloween. C'est le bon temps pour repasser ses vieux classiques... L'Opéra de la terreur, Godzilla et les autres. Pour ceux qui ont numérisé leur collection de films, le baladeur iPod Vidéo permet de les regarder. Pour ne pas se ruiner la vue avec le petit écran de l'iPod, les nouvelles lunettes iWear pour iPod, de la société Icuiti, sont recommandées. Les IWear sont des lunettes qu'on connecte à son iPod Vidéo et qu'on enfile. Bon, c'est sûr que ça donne des airs de cyborg sorti tout droit de Star Trek. Mais avec les deux minuscules écrans à cristaux liquides logés au fond de l'appareil, on a l'impression de regarder un film comme sur un téléviseur de salon. Top branché, 2e partie Pour regarder des vidéos tirés du iPod Vidéo directement dans sa télévision, on peut toujours acheter de Apple l'ensemble de connexions AV conçu à cet effet. Mais il suffit de fouiller un peu pour découvrir que certains accessoires de marque différente font la même chose pour moins cher. C'est le cas du TuneCommand AV, de la marque Belkin. Le TuneCommand AV est un socle sur lequel se connecte le Ipod Vidéo et qui se branche à sa télévision. Une sortie de type RCA (à trois mèches) est nécessaire, mais on peut aussi opter pour la sortie S-Video. Le signal vidéo est de meilleure qualité. Puisque le socle tire son alimentation d'une fiche électrique murale, il recharge le Ipod du même coup. Pour faciliter l'opération du IPod Video à partir de son sofa, Belkin inclut dans la boîte une petite télécommande qui, malheureusement, n'offre pas beaucoup de fonctions. En plus, les menus affichés à l'écran du Ipod sont pas reproduits à l'écran du téléviseur. En ce qui concerne l'écran, l'image est d'assez bonne qualité. On est loin de la HD, même si, pour les photos, on peut en tirer un résultat tout à fait acceptable. C'est beau mais c'est quoi? Est-ce le méchant du film Terminator 3? Un cyborg futuriste venu nous asservir? Non! C'est le nouveau jouet de Lego : le NXT Mindstorm! La gamme Mindstorms repose sur le module programmable NXT. Il permet aux jeunes qui sont assez calés dans le domaine de construire un robot à l'intelligence artificielle plutôt développée. Le bloc NXT est un petit ordinateur avec affichage sur lequel se connecte un nombre impressionnant de capteurs : un pour le toucher, un pour le bruit, un pour les distances, un pour la lumière, etc. Attrape techno En ce moment, toute sorte de microbes torturent les pauvres dents et gencives de Bernard. Ce n'est pas compliqué, à ce rythme-là, il ne lui restera plus de dents pour faire la conclusion de l'émission! Heureusement, il sait comment combattre cette vilaine carie. Oral-B vient de sortir l'une des premières brosses à dents intelligentes, la Triumph. Grâce à un indicateur au bas de l'appareil, on peut savoir un tas de trucs à propos de notre brossage. Par exemple, la brosse chronomètre le brossage pour s'assurer que ça fait deux minutes, le temps minimal recommandé par les dentistes. Elle ajuste aussi l'intensité du brossage selon le type de brossage que l'on recherche, un simple nettoyage ou un massage si vous voulez vraiment chouchouter vos dents! De plus, la Triumph permet aussi de blanchir vos dents avec une tête que l'on installe. Et elle affiche en tout temps l'état de la pile de la brosse à dents afin d'éviter de manquer de jus en pleine action!
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