#said in interviews she loves programming +wanted to live inside a computer so its kinda heartbreaking that her site is for yoga lessons now

[vib-ri]

digital mascot design by Reiko Chiba

[content-to-convert]

VIDEO DIDN’T KILL THE RADIO STAR...

VIDEO DIDN’T KILL THE RADIO STAR it just made him dress nicer 

By Pat Mellon 

Speaking of your brand evolving, PODCASTS are now a wise bullet to have in the arsenal of promotional weapons. In the early 2000's, for instance, you didn't have the option to record and distribute a PODCAST. The technology didn't exist to even IDENTIFY, much less create one- if you typed PODCAST into an email in 2002, it would have been flagged as a misspelling. 

But now, thanks to Audioblogging, re-branded as PODCASTING thanks to the iPOD, you can reach a targeted captive audience in a car on a long commute, with content that they've actually sought out. It's essentially a radio infomercial for the lifestyle of your product, without the PAID-PROGRAMMING aftertaste. Plenty of people have been slow to warm to the idea of such self-promotion and have waited to see if the technology and its effectiveness sustained or if it waned, the way QR codes did, or video discs did until the invention of the DVD. It can be an amazingly powerful part of your brand. 

Many rejected podcasting, as I did initially, as a waste of energy. In fairness, early on when there were no networks for podcasting and its business model was less focused than now, it smacked of self-congratulatory volunteer work. I saw it as an infringement on my profession. I have 15 years of radio hosting experience. I saw podcasts as competition. In my short-sighted view then, I didn't see the full potential of a podcast. I just saw it as people wanting my job. But as time went on, I began to see the ways, at least in terms of in-car entertainment, that podcasting was the future. And like the cryptic fortune cookie says, "Kill Your Darlings". Or maybe go with the less-confusing, "Reinvent Your Business Constantly. The End Goal May Be The Same But The Tools and Methods Evolve Constantly" which is a Ken Tucker quote I saw on a Snapple Cap. Or even the more direct, "You Have To Reinvent To Stay Fresh and In The Game" which Madonna said once. 

But early on, I saw it as the enemy - the way news journalists must have felt when FREELANCERS started getting a lot of the work in the late 90's. I thought, "If all you need to broadcast is a computer and an opinion, why the hell did I major in Broadcasting? It's like everyone becoming a Youtuber or a Social Media Influencer (seriously, that is NOT a good name. It's just saying what you're doing. It lacks creativity, like naming the glass thing you drink out of a "glass". Or the room with the bed a "bedroom". Or the thing you swing on a "swing". Or the... Sorry-I'll move on.) Anybody can become a Social Media Influencer these days, (and if they're under 14 and haven't been trying for half their lives then you might want to make sure they're breathing) and that means fame, sometimes money, but more important: LIKES. I overheard my 8 year-old playing with her friends and they were pretending there was a genie or something granting wishes and one girl asked for a pony, and another asked for a house of chocolate, and my daughter asked for a million LIKES on her video. LIKES are currency for pre-teen popularity. And LIKES or even merely PAGE VIEWS can be currency in the grown-up world of business. My point is that anyone with a computer and a camera can make money on Youtube if they hustle. It's simply the new normal. It's great, if not dangerous. We've yet to see the fallout of a generation raised on Youtubing, unless, of course, you count cautionary tales like Logan Paul or Jo Jo Siwa, both of whom are rich. It's simply another entertainment option for kids. I kinda thought podcasting was that, but for adults who only wanted quasi-fame; to show-off. But it's bigger than that.

If you're a plumber, for instance, and you want to maximize business, you probably want a decent social media footprint, some solid YELP reviews, and maybe even a podcast. Toilet clogged? Click here for an interview with master plumbers from all over. It's not the ONLY thing you should do. It's ONE of the things you should do.

On the consumer side, you have to realize that traffic, especially the bumper-to-bumper kind, is GOLD to a radio talk show host. People listen the most in their cars, so DJ's in New York and Los Angeles, the #1 and #2 radio markets depending on who you ask*, for instance, who entertain on the radio, are always on their toes to stay funny and relevant because it's so easy to push a button and change the station.

Then suddenly there was a new game in town. People were bypassing the radio altogether and plugging external sources into car sound systems, removing the commercials and unwanted Morning Zoo shenanigans, and rendering my entire college education and training void. My only hope was wishing death to the podcast movement, which I think I did a couple of times on the radio accompanied by a sound effect of a toilet flushing (Take THAT, Podcasting!). It didn't work. I kept hearing the word. Podcast. (eerie voice) PODD CAAAST! My head was in the sand. People would say to me, "you should do a podcast" and I'd cringe and wildly swing fists at imaginary ghosts who were accusing me of "Resting on your laurels" and "Holding on too tight.”

It took a while, but I get the appeal and, more importantly, the power of the Podcast. It's like a book-on-tape for the 21st century- 10 times as cool, though, because it's technologically relevant, and can be different every time you listen. So we agree that podcasts are real. And we acknowledge that there is room for many things on the dashboard of a car, be them outlets, or additional buttons. And we agree that the the way we do business is always changing and we have to adapt to some degree. So why all the hub bub? Because we can't have an intelligent conversation about the delicate existence of Podcasts without talking about Shane Gillis, the comedian who was hired and fired by Saturday Night Live in the same week last year. We need to understand the power of what it was that torpedoed his streetcar (tune into Mixed Metaphors with Pat Mellon Tuesdays on The Podd Couple, right after Poddamnit at 8, and Pod of Thunder with Gene Simmons at 8:17) He and a buddy do this show, this podcast, it's like a radio show but you don't listen to it on your grandpa's Victrola, you tether your MP3 player to the radio inside grandpa's Camry, and there's bad language, which there never is on traditional, boring old dumb talk radio, so right away, it's awesome (honestly, the only difference between Howard Stern on radio and Howard Stern on satellite is the F word) and the internet allows curses and take that, Mr. Suit and Tie, and this is going to be amazing. And on one particular show from 2018, Gillis said "chink" when describing someone in Chinatown. Not a huge scandal, but I guess you'd have to ask Roseanne Barr if the internet can get you into to any kind of trouble. She was exiled from the the entire US for a social media post that mentioned race and monkeys. And the same new normal that allows John Q. Anybody to do a podcast ALSO watches everything you do online and will sink you if it sees something it does not like. America can be confusing that way. Freedom of speech and freedom of complaining about freedom of speech are always at each other's throats, it seems. And you can't have it both ways. The guy who alerted the world to Bill Cosby's dating rituals online is loved by many but is also shunned by others, but that guy knows what he did and he knows not to complain about the ones who, well, complain. It's the price you pay.

The point is, you need to constantly be hustling and using all of technology’s modern tools to get your product out (they’re not burning DVD’s anymore) and maybe one of those avenues is a podcast with salty language, and maybe that podcast exists among your body of work that clients can enjoy whenever they want.

But we live in a new age of retroactive outrage. Eddie Murphy was on SNL and is arguably the most talented person the show has produced. He did a stand-up special in which he explores “What if Mr. T were a Faggot?” It was inflammatory and it was insensitive and it was homophobic (though that buzzword was still a decade from conception) because the premise of the joke- the attribution of homosexual behavior to a big, strong, black man being marginalized as solely predatory sodomy - crossed the line. When I spell it out like that it looks horrible. But it’s a simple comedic device: assigning unlikely behavior to someone for comedic purposes. It’s the fish-out-of-water gag. It’s why we had Mork, and Alf, and Balkie from Perfect Strangers. It’s Freaky Friday. It’s why The Rock playing a babysitter or a tooth fairy is funny. Murphy did this AFTER he was on SNL. But if has been released before he auditioned, do you think he’d have been hired? 

  Of course he would have. Because the Mr. T thing was a small part of that special (though, I recall, an extremely quotable part) and the people who didn’t like or appreciate the language didn’t have the bionic megaphone of the internet so they could get their outrage all over your conscience. The point is that your podcast is a reflection of your brand. You have to weigh your desire to speak freely and loosely with your desire to keep the Cancel Culture at bay. At a MINIMUM, though, you should keep things clean for your clients, listeners, and most importantly, your potential customers. Shane Gillis missed out of being on SNL and fame, instead on infamy because he broke one of society's biggest rules:he said something controversial out loud. Granted, it was in bad taste, but if that were a crime half of us would be in jail. It's just important to remember that your language on a work-based podcast should be professional, which I realize cannot be defined easily, but maybe stay away from slang and cursing. Just because you CAN doesn't mean you SHOULD.

[starryace]

my personal introduction to vav

so i have a few friends who’ve been wanting to get into vav but dunno where to start so... i’ll just do this lil thing. obviously there’s gonna be my own opinions so don’t take everything i say to heart but like... here we go

vav (very awesome voice -- pronounced vee-ay-vee but i say vav bc im lazy) debuted in 2015, but when they debuted they had a different lineup. zehan, xiao, and gyeoul all left to pursue other activities. ziu, lou, and ayno joined the group in 2017! the fandom is called vampz because of the groups original concept but we don’t talk about that

title tracks/mvs: *under the moonlight | *brotherhood | *no doubt | *here i am | venus (dance with me) | flower (you) | abc (middle of the night) | she’s mine | spotlight | gorgeous | give it to me | senorita | **so in love | **thrilla killa | **i’m sorry | give me more

* = pre-line up switch! | ** = without jacob (due to his participation in a chinese program)

more about the members under the cut!

st van (lee geumhyuk)

note: during updating i ended up having to redo this entire section bc my computer deleted it all... sigh.

everyone’s dad

kinda gives off party vibes, like a cool club dad, you know?

super duper soft :(( he laughs at everything and he loves gentle things and he may be the oldest but he’s babie

gets really embarrassed really easily and blushes and laughs it off

oh! he also laughs with like... his entire body ekhrbgj

tattoos! on his shoulder and right arm

full sleeve completed

self composed the track “im sorry” off of the thrilla killa album

he lived in china for 13+ years and can speak fluent (if not, almost fluent) chinese

he’s super good cook and he wanted to be a chef before becoming an idol

loves jacob :(( with all his heart

weird but he can drink a lot of water really quickly, that’s his special talent

got a dog with the group! her name is cash and she’s super cute

im sure there’s more but i got mad after my computer deleted everything so i’ll get back to updating this part when things dawn on me

baron (choi chunghyeop)

dancer extraordinaire! he actually used to be in a dance team before vav

smiley boy ;;;; literally he has the prettiest smile and the nicest teeth

he can play the piano and a lil guitar im p sure!

he’s honestly a lil shit but we love him anyway

he’s very mom like, and loves taking care of the members, but i spy with my lil eye someone a lil more mom-like but that comes later

he choreographed a cover of shape of you!

unfortunately, his mom passed away early this year (may she rest in peace).

his nickname is baby prince (from his mom) and it was because of his mom that he was able to become and idol

baron singing??? yes,,, yeS!! his voice is godsent istg

he loves loves loves music and dance

wont shut up about millennium dance studio

was the pizza delivery boy in minx’s why did you come to my home

has a very intensive skin care routine

he!! loves!! food!! constantly nomming

ace (jang wooyoung)

remember how i said how i thought there was someone more mom like? meet ace.

literally babies everyone

eSPECIALLY ayno + ziu (sometimes lou, when lou will let him)

sassy, diva, can also be a lil shit -- esp with baron... 92 line is just lil shit line

lil fucking tease, too--

he has an oral fixation-- licks his lips a lot no bueno for me

teal hair? god tier. senorita? also god tier. everything about him? god tier.

plays the guitar... see senorita

“you’re doing wonderful sweetie” but like... a living version of that

abs... abs for days..........

works out with jacob

dimples!! but it’s more prominent on the right cheek.

god he’s??? literally ethereal. like i can’t put into words how pretty he is

he ;;;; has the purest, most sweetest heart

they need to start letting ace have more lines bc omg his voice ;;;;;

really good with kids ;;;;; they love him

he’s a BIG flirt, it’s like when he opens his mouth the only thing he thinks to do is say “i love you” or “you’re mine” or smthn

Prince Wooyoung™

ayno (noh yoonho)

was on no.mercy -- still kinda keeps in contact with monsta x now (hims was lil babie minhyuk)

yknow how baron is dancer? so is ayno -- aYNO IS GOD TIER DANCER ok he ;;;;; ugh he’s literally so talented

he raps too! also god tier

hims a soundcloud rapper -- dropped zero coke (mixtape) and god that boy is talented

self composed their song touch you (aka one of my fave vav songs)

ace’s baby... really, he’s vav’s baby, but still

fake maknae to the max. it still baffles me that he’s older than the others ima list

hims also pretty shy, but it’s real cute ;;;;

lou has such a big fat crush on him and he’s always embarrassed by it

he zones out a lot and is very mellow & quiet until something inside him switches and then he’s like BAM loud and crackhead

ziu.... brings out... the crackhead in him lbr

former happyface ent trainee w/ ziu

puppy!

also really good with kids!! prolly bc he is a big kid himself erhbjeg

often writes his own raps for songs

jacob (zhang peng)

resting bitch face to the max

800% done with everyone’s shit

chinese member!

he was performing in a chinese show called all for one -- his team got eliminated (sad) but that means he’ll be returning to the group (happy!)

that’s why he wasn’t in so in love/thrilla killa/im sorry

hims loves his st van

he also eats... a lot.

ok but like... he works out with ace, right? boy has such chiseled and nicely defined abs, it pains me

he’s a happy lil sunshine boy

savage as fuck

his smile literally adds 5 years to your lifespan

all of the members miss him so much ;;;; its honestly super wholesome and every once in a while they’ll be like “omg cobi would love this” or “jacob....... we miss you”

but then you have shithead lou being like “i mean... its nice having the room to myself” wrehbjehg

he dance too! idk what type of dancing it is but he does it!!!

he was in the chinese movie “the dreamer on the catwalk”

BRING HIM BACK ATEAM PLS I MISS HIMS

HE HAS RETURNED AND HE’S STRONGER THAN EVER

lou (kim hosung)

my #1, my one and only, my precious sweetheart

tall as fUCK

has a deep ass motherfucking voice

grew up in georgia as a kid (can speak fluent english) and then the philippines when he was a teen!

kinda the more quiet & reserved member

but dont let that fool you......

he too is a lil shit

AND A CHAOTIC GAY -- ziu bothers him a lot but he has a big ol’ crush on ayno and he never shuts up about how pretty he is and how much he loves him

he can be a grouchy lil bitch too tho hkerbjeg

in this interview baron and st van were being cute and he’s just in the corner like “youuuu shouuuld daaaate” -- gay. in the same interview thats one instance where he wouldn’t shut up about ayno

hims a rapper too!! he often writes his own raps for songs (much like ayno)

his own mixtape (goodnight) literally is so nice i listen to it all the time

he has a vlive thing he does called lou-dio and it’s real cute

big ears = the cutest thing ever ehkrbgjeh

he collects a bunch of stuff!! like pop figures and toys, like souvenirs from everywhere they go

he was in the youtube webdrama “lemon car video” (eps 1, 3, 7, and 8)

his stage name is lou (pronounced “low” but i refuse to say that) because his voice is so low

ziu (park heejun)

chaotic. just chaotic. chaotic gay, chaotic maknae, chaotic man.

he’s the real maknae tho... doesn’t look it, huh?

manly af

literally so charismatic and funny as hell

wants kisses + love + attention from everyone

goes in for a kiss -- everyone else usually backs away but he’s always disappointed that no one gives into him

kisses kisses kisses

did i mention kisses?

he makes a lot of random ass noises all the time

screm... lots of screm. like you know opossums?? think that kinda screm.

his vocals ;;;;; his singing voice is so, so nice ;;; i adore it.

his room is dirty af i could NEVER

he does some really questionable things sometimes... see here.

like i said, i cannot express this enough... he’s so charismatic. so charming. so handsome.

also!! super hyper fluff ball. hims cute.

aegyo up the wazoo too

former happyface ent trainee with ayno

was in the fri.sat.sun teasers by dalshabet

can get p loud & annoying but that doesnt change how much we love him

idk if any of that made sense... but there you go! there’s so much more to vav and everything they do and who they are, so i hope this just kinda gets more people to look into them? it’s a stepping stone, not everything possible to learn.

+ keep in mind, a lot of this stuff comes from both kprofiles, what i’ve seen in videos, and my own personal opinions & inputs. so... yeah. don’t use what i say as truth/fact unless you see stuff to back it up (or you adopt it as your own opinion idk).

thank you for taking your time to read this!!

[anne-moss-blog]

The Panty Thief of Bridgeport

Ed Wagemann hasn’t changed much in the last 20 years. He might actually be wearing the exact same socks he wore in 1997 in fact. That may sound like an insult, but Sir Edward (as he now insists on being addressed during interviews) takes insults as compliments, and vice a versa. I met up with him on an rainy May day at his favorite burrito place in Chicago’s Pilsen neighborhood to discuss the revision of his first novel The Panty Thief of Bridgeport.

Me: Sir Edward, You recently decided to revise your 1997 novel The Panty Thief of Bridgeport [PTOB]. Why?

Sir Edward: I use Panty Thief like a priest uses his Bible, kinda…

…long pause… [as I wait for what sounds like the set up to a Catholic Church joke]

Me: And how’s that?

Sir Edward: Whenever I get bored or stuck with whatever I’m currently writing I will go back and start picking away at Panty Thief.

Me: And that helps you get inspired?

Sir Edward: It reminds me that I should be having fun. [chuckles] This time around though I took a different approach. I decided to use the collective wisdom of the Internet to actually give Panty Thief the overhaul it has needed for awhile now.

Me: Tell me how that’s going.

Sir Edward: Great, if you like a bunch of smart ass trolls and Lit snobs telling you what a shit writer you are [chuckles again]. What I did was I started a blog where I’ll release one or two chapters of Panty Thief every couple of days and then I blanketed a bunch of writer’s groups on the internet with these open invites to come and participate in what I described as ‘the historical first EVER Interactive Revision of a published novel’… Then I sat back and watched the train wreck.

Me: Is that true? That this was the first EVER Interactive Revision?

Sir Edward: Hell if I know. But I got some actual feedback that I could use and I even met a couple of folks who actually dug it.

Me: And did you actually make any revisions to it based on that feedback?

Sir Edward: Yeah, some. Not as much as people thought I should though… One thing I did when I was inviting readers, writers, editors, etc to the Historical Interactive Revision was that I included a contest, sort of. I said that I would write two brand brand new characters into the novel who will be based on actual people that contribute comments to the Interactive Revision. But then I didn’t follow through.

[I found out later that more than one person threatened to sue Wagemann if he used their likeness in his novel. This may explain why he bailed on his idea of inserting characters in PTOB based on people who made comments during the Interactive Revision.]

Me: Hmm….

Sir Edward: Next Question! [laughs]

Me: During this Interactive Revision, what were the biggest criticisms of The Panty Thief of Bridgeport?

Sir Edward: You know, the usual. There were complaints about sentences that are too long or complaints about switching from present tense to past tense then back to present tense again. There were complaints of switching back and forth between active voice and passive voice… There was this one Lit-Nazi who actually put The Panty Thief through some computer program that analyzes writing. Oh man, I gave that Puritan an earful!

Me: Oh no, what did it is say?

Sir Edward: Well of course this computer program shot the novel to hell, pointing out that I used the word “that” 500 thousand times and that I made one million and six thousand and 32 word usage mistakes, and this and that. It made me laugh really, because I can’t name one computer that ever wrote a great novel, so why the fuck should a computer be trying to tell anyone how to write a novel?

Me: You’re talking about Grammarly, or the Hemingway Editor. They are computer software, not actual computers.

Sir Edward: Is that what they are? Well yeah, I don’t give a fuck. And I asked this Nazi if they had tried that computer analyzer on Catcher In The Rye? Or A Clockwork Orange? Or One Flew Over the Cuckoo’s Nest? The stats on any of those are probably a million times worst than Panty Thief… The obvious problem with these computer analyzers is they don’t account for the individual voice of a first person narrator. So I kindly thanked the Nazi for their input but told her that I don’t put much stock in the paint-by-numbers computerized approach to creative writing. I mean WHO programs these computer programs? And what fucking standard are they using? Some elitist, grammar snob literary society standard that Hubert Selby would wipe his ass with.

Me: You mentioned The Panty Thief of Bridgeport was criticized for having sentences that were too long.

Sir Edward: I did?

Me: [looking down at my notes] That’s what I have written here in my notes.

Sir Edward: Oh well, if its written in your notes… [For the record, the audio playback of this interview confirmed I was correct]

Me: So what is YOUR opinion of overly lengthy sentences?

Sir Edward: That’s just another bull shit criticism. I mean, it might have something to do with the fact that we live in such a short attention span culture and we are being conditioned to process things in these nice little soundbites.

Me: But doesn’t the idea of short, economical sentences go back to Hemingway and his tip of the iceberg approach to fiction?

Sir Edward: Fuck Hemingway. Hemingway can suck the tip of MY iceberg, that no talent hack… [awkward laugh]. I personally don’t count the words in my sentences. And if a reader is distracted by the length of the sentences in a novel, then that means the content must be pretty fucking boring. Plus, you know, there’s the argument that long sentences can actually quicken the pace of the reader. Especially in a first person narrative. It can give the impression that the author is thinking quickly, that he or she is in a hurry and that there is an urgency to what they have to say… Unlike something like Camus’ The Stranger, which has a lot of short sentences and seems like the narrator is really going slow. So, it can be a pacing thing. But mostly it depends on the narrator’s voice. If the narrator I create for a story thinks and talks in long sentences, then I have to be true to that. Also it depends on the situation the narrator is in. Some times the narrator may be thinking in long sentences and some times he or she might be thinking in short ones… [Wagemann pauses to take a bite of his burito] And by the way, the same thing goes for cliches. The use of cliches is perfect, if the narrator thinks in cliches… like the narrator in The Killer Inside Me [by Jim Thompson]… it just depends on the narrator’s voice.

Me: Speaking of the narrator’s voice, you once gave me a very unconventional rational for switching back and forth between active voice and passive voice in The Panty Thief of Bridgeport. Do you remember that?

Sir Edward: Well, yeah, a central locamotion that keeps Panty Thief’s story moving is this clash between the narrator and the “mechanism” inside him that is trying to regulate his actions. So to differentiate between when the “narrative reality” is being controlled by this mechanism as opposed to the first person narrator I will slip into passive voice. So instead of saying “I listened to the music” the narrator will say something like “The music came to my ears and invaded my brain” or some shit. But that’s another thing that Lit-Nazi’s gas me with, all this switching back and forth between active and passive voice. Its just not proper they say…

Me: Well, it’s pretty experimental, don’t you think?

Sir Edward: Well, if it is experimental, then the Lit Nazi’s are just admitting that they aren’t open-minded enough to digest it. Which is no reason to criticize me. They should be criticizing themselves! [laughs]

Me: As you alluded to, the plot of PTOB hinges on the development and realization of some mysterious “mechanism” that lies within the narrator. This mechanism sends physical cues to guide the narrator. You use a succession of examples to illustrate how the mechanism does this, most of which are shown through flashbacks. Some are very recent flashbacks, while others happened years prior. So this means you are jumping around in time and space and you have to switch from present tense to past tense and then back to present tense again at the end. My question is, with so much jumping around, wouldn’t it have been better just to do the entire thing in past tense?

Sir Edward. Well, ask yourself why does anyone write anything in present tense instead of past tense? And I think the answer, in part, is to provide a certain real-time immediacy to the narrative. And I wanted that at the time I wrote it. Its the decision I made, so I’m sticking with it.

Me: Why use so many flashbacks though, more than 3/4 of the novel is in flashback.

Sir Edward: Really? That much?

Me: Yes, and after the opening chapter there is a series of flashbacks that for the most part are not in chronological order.

Sir Edward: Right, they are in the order that certain plot points need to be revealed. Then, at the end, when all of the plot points are fully realized, the narrator returns to present tense. You know, I’m a big fan of the flashback. In Panty Thief these flashbacks are there to answer certain questions while at the same time they are there to create other questions. Is this ‘mechanism’ a tool of god? Is the narrator simply insane? Is this mechanism a force of good? A force of evil? Is it all just a psychological trick the narrator has created to survive? Or is it just part of a complicated scheme to win the love of a woman? And so, its these questions and answers that move the story forward… it’s a ‘the more you know, the less you know’ kind of thing…

Me: But isn’t it hard to keep the reader engaged with all of these changes in time and place? Don’t you think it can disorient some readers?

Sir Edward: I really had to work hard on my transitions, to make sure they aren’t confusing. I’ve taken pains to put things into context in a way that keeps the story flowing and coherent… But I also think that all these changes in time and place challenges readers, and that’s a good thing because it keeps their imaginations working. And I admit I enjoy challenging readers because I like being challenged myself, when I read. But of course, this isn’t for everyone – most people want sugary breakfast cereal and bubblegum, Harry Potter and 50 Shades Of Gray shit. But there are those of us who get off on being challenged…

Me: And those are the people that The Panty Thief of Bridgeport was written for?

Sir Edward: Sure.