Rabu, 19 Agustus 2009

The Greatest Mystery About PETA's Ringling Elephant Video: Why Was It Not Shot by Kenneth Feld Instead?

Comment offered, 8/19: see update at end of story, below.

Just when the American public was beginning to give American circuses the benefit of the doubt, here comes perhaps the most troubling exposure of alleged animal mistreatment so far: the highly hyped PETA video showing Ringling elephants being beaten and cursed at while awaiting their performance time in the wings. It is, on face value, ugly. And, on face value, it may set back growing public support for animal acts by many seasons. Back at least to the wretchedly awful Carson & Barnes video.

Here is the greatest mystery of all, in my opinion: Why on earth was the “undercover” employee who filmed Ringling elephants apparently being mistreated not on Kenneth Feld's payroll? Feld is well known for paying ex-CIA operatives big money to infiltrate the lives of journalists and animal rights organizations. How utterly astonishing that he would not have his own undercover agents monitoring his circuses so that he can take corrective action when evidence of abuse surfaces.

Ringling gets most of the attention. Ringling is the story because it is the Big One. And so other shows that may be doing everything right, if that is possible, are bound to suffer.

The video has been all over the internet. It is causing moderate voices, who wanted to believe that circus animals are well take care of, to consider more seriously the opposition’s side.

The elephants in question, along with all of the animals on the Red Unit (Zing Zang Zoom), are, according to prominent attention given him in the program magazine, under the care and control of Alejandro “Alex” Vargas. His title is Animal Care Superintendent and Head Trainer. I’d like to hear what Mr. Vargas has to say for himself. He owes it to the circus world. So does Kenneth Feld.

If the video is “deceptively edited,” as Feld Entertainment claims (I question the clicking sounds), then Feld Entertainment should immediately explain to the world how the video has been deceptively edited. This is called, Mr. Feld, damage control.

I have often argued that in today’s hyper electronic landscape where anybody can secretly film backyard activities, no circus owner can dare risk condoning the kind of mistreatment that appears to be happening in this video. And I am also wondering if my own inside contacts over the years, asserting that circuses have cleaned up their act, have in fact mislead me. Even I feel uncomfortable over the thought of asking friends to go with me to a Ringling show. Most of all, I feel a great sadness.

Given Kenneth Feld’s concession in a courtroom of law that he is not regularly apprised of possible animal abuse within his own organization, we should not be surprised, I suppose, at his utterly inexplicable disengagement. Perhaps it is a conscious legal maneuver to protect himself. Whatever the case may be, there is evidently a dangerous disconnect between Vienna, Virginia and the circuses that Mr. Feld operates.

I have long defended and even praised Feld's apparent dedication to the best possible conditions and the most humane treatment for his animals. I now have grave doubts. The video reveals such a blatantly sinister contrast to all of the rosy media and customer materials issued by the Feld organization to sway public opinion in its favor.

It matters not if circus animals in general are actually better treated than their counterparts in other avenues of captivity, or if what appears to be a "beating" is barely felt by the pachyderms (I do not know). What matters are the increasing number of people for whom such imagery is understandably abhorrent.

This is a sad day for circus entertainment. Pray the Felds can shoot down this video's credibility with a persuasive corrective of their own. All animals are now banned in Bolivia. Other countries and local governments are continuously revisiting this most contentions of circus issues. Just when you may have thought it was safe to go back into the menagerie, this story is far from settled.

Say it isn't so, Jumbo.

The Besalou Baby Elephants -- Opal, far right, trained by Mac and Peggy MacDonald. Polack Bros. Circus 1955.

Update, 8/19: I knew there would be comments sent my way by Anonymous, whomever he/she/they are. Anonymous, I will not print your comments, whatever their possible accuracy, without your name — the issue is too contentious, and you implicate a number of people — but to show you how unafraid I am to represent your side, I will quote from Henry Ringling North’s 1960 book Circus Kings (page 248), more accurately than you do, and then place Mr. North’s comments in context, which you did not. North said, as you wish us to know, “they [the big cats] are all chained to their pedestals, and ropes are put around their necks to choke them down and make them obey. All sorts of brutalities are used to force them to respect the trainer and learn the tricks. They work from fear.” In context, North was offering high praise for Alfred Court, comparing his approach to other trainers. According to North, Court generally circumvented such cruel tactics, even though he employed some of those tactics to a degree: “He did start off with the animals collared and chained to their pedestals, but he began by making friends with them.”

Lastly, after citing examples of animal abuse over the years, you smugly conclude, “no one performing today would EVER do such things.” I don’t know. Although I did not relish the PETA video, it certainly did not contain the sort of action described by HRN above. I too, in years, past, noticed, for example, a very exasperated trainer whipping-spanking and jerking around his monkeys during a Polack Bros. circus performance; I think I know the famous name, but I can’t be sure, so I won’t implicate. The act struck me as pathetic. I’ve not seen that sort of act with any circus in many many years. The story is an open one.

Minggu, 16 Agustus 2009

Ringless Bros. in Overdrive: Zing Zang Zoom Makes Magic in the Rough ...


Circus Review: Ringling Bros. and Barnum & Bailey / Zing Zang Zoom
Oakland, August 13, 7:30 p.m.
$15.75 to $108.00
2 hours, 10 minutes


Ringling’s illusional Zing Zang Zoom tries hard to turn a reasonably good slate of acts into a wildly creative sight and special effects show. If only there was a little more focused artistry — and a little less overblown zing.

The Felds, who have long used the lure of pyrotechnics to seduce audiences, are back at it in a big way with this one — no match for the sleeker, decidedly more disciplined and talented Boom A Ring, currently playing at Coney Island.

Nonetheless, whatever Zing is, it keeps on giving: Costumes offer bright eye candy diversions. Exotic ensemble opener is Cirque du Soleil on steroids, leading into one of the biggest ballyhoo busts in big top history — the touted “escape” of an elephant. It’s not hard to figure out how “zingmaster” Alex Ramon made this happen.

Not exactly a take-note beginning for the young handsome magician, who has been handed prime focus as master of ceremonies and bolts through the evening like a raspy-voiced cheer leader, bordering on shrill overkill. His moderately pleasing big box illusions are interwoven through a somewhat schizophrenic program, directed by Shanda Sawyer, which is mostly another (literally) Ringless Bros. affair. Ramon’s best trick by far is making a tiger appear, and that’s a tie in to big cage act of Tabayara “Taba” Maluenda.

This show really aims to be a more splashy in-your-face production than a circus, and it’s hyperactivity can wear on your eyes and ears. That is, if you are a certified adult. Obsessively focused lighting, as usual, casts narrow illumination onto the action at hand. Not always helpful. For example, a possibly charming upside down routine high in the arena performed by Clara Ruizi and Fabio Melo Da Silva is nearly impossible to follow through distracting spot lights.

But the producing Felds, it appears painfully obvious, would rather keep some of us in the dark some of the time than shed any embarrassing light onto thousands of vacant chairs that do not spell the greatest draw on earth. At least in Oakland or San Francisco, where I have followed the show over the years, this is certainly the case.

Acts range from so-so to very good. Olate’s returning dogs are a reliable delight. The elephants in long mount formations strike a genuine chord of old authentic circus nearly lost in the scattershot setting, with odd-shaped platforms and rubber tubes that inflate into temporary rings coming and going. We are never placed anywhere. Two Russian swing troupes, Skokov and Romashaov, deliver nifty and novel maneuvers. Less accomplished though no less ambitious are the Qi Qi Har Acrobatic Troupe from China, executing leaps and somersaults between each other on two swinging planks. Blame a certain lack of Asian perfection on the use of safety wires.

Another mixed result born of the mechanic diminishes the Lopez Family high wire troupe, not profiled in the program. One of the Lopez brothers who gets things going, using a standard balancing pole, has real star power, which promises major entertainment aloft. Not to be. Despite website notes to the contrary promising "no safety lines or net," a slim payoff has a woman rigged to a mechanic doing a head stand in a three-person pyramid. And you can feel the air going out of another inflated illusion.

A double cannon, two wheels of death, and liberty horses add conventional strength to the standard ingredients.


Possibly the show’s two finest artists — a Chinese aerial duo, names not listed in the program magazine — are ill-served by ineffective showcasing; their act is difficult to fully appraise, for it is oddly split into sections and presented piecemeal between and around other less primary happenings. This is just plan weird. Worse yet, the pair are spotted near the back door. They really deserve the center space, which is unconvincingly held by a woman getting all tangled up in another hopelessly vague fabric roll around.

The one glaring deficit to Zing are eight or nine silly acrobatic house clowns who mark perhaps a new low in Ringling comedy.

Music ranges from ersatz Broadway with a strong pulse to a variety of other sounds that somehow end up all sounding the same, and not very memorable. Maybe it’s the amplification. No matter, this is a calculated program of mirrors and incidental antics (audience shilling, and I think, through a muffled sound system, I detected a slight story line?) all designed to keep the audience occupied. It conveys more than a touch of directorial insecurity, but, then again, viewed from a populist angle, Zing Zang Zoom looks like a big crowd pleaser — that is, for audiences who ask not much of circus art but prefer the quick immediate rush of fresh fireworks along with some of the old fashioned stuff and a little novelty thrown in. Call it the Feld formula. Boy, does it sell concessions. To everyone but me.

Overall Rating (out of 4 stars): 2-1/2 stars


End ringers: Attendance figures: I purposely chose to take in the show in the evening, thinking it might be better attended. I saw about the same number of people I’ve seen the last two years at 11:00 am Saturday shows. I checked with two house ushers. Usher A guessed there were closer to three than four thousand customers in the arena, which seats 19,200. Usher B more or less concurred, adding that the crowd on the previous (opening) night was larger and speculating that, because there was an Oakland Raiders game in the stadium next door, that was partly a reason for the light turnout. The audience that did turn out was really into the show, and many of them binged throughout on concessions and treats ... All Access Pre-Show: Only the second time I've taken a walk through this event. Considering there is no money changing going on, I must admit it is an agreeable feature, though I still question just another act of breaking down the fourth wall. The highlight for me was watching the elephant Asia at work on a painting! ... Why no S.F. reviews? Zing's zingmaster, Alex Ramon, is a local east bay boy who received prominent feature coverage in both the San Francisco Chronicle and the San Francisco Examiner, but neither paper reviewed the circus. How odd. That ringless setting: The way it is forever being rearranged, it made me fell like I was watching a circus on a certain doomed ocean liner ... Program Magazine: For $15.00, this decreasinglgy significant item is hardly worth the money considering its sketchy historical value and the absence of a program lineup.

[all photos from the program magazine]

Jumat, 14 Agustus 2009

Friday Nite L’Amyxery: Cirque Insects S.F. Bound; Bolivia Circus Animals Banned; Barnum Headed for Silver Screen; Museum Glory, for Hugo ...

I can’t wait, I think. Cirque du Soleil’s newest darling named OVO, the one about insects, is San Francisco bound. This latest Montreal offering sounds and looks, in snippets, suspiciously cerebral, but who knows? I'm game; I'll take out another mortgage on my one bedroom rental to pay for a plank in the Gods ... Did 'ya know, by the way, that Bolivia, per an AP report I have right here from a certain Don Covington, is the first country to ban all circus animal acts? .. I say send over the Pizza Whisper guy to intervene. Yes, I’d buy a best-of DVD of this character’s inanely hilarious tender conversations with pizzas about to be served ...

Okay, you didn’t like that. How about this: Broadway actor Hugh Jackman to play P.T. Barnum in a movie in the planning stages, The Greatest Showman on Earth. I can hear Irvin Feld, six or sixteen feet under or over, crying out loud: why not ME? .... Sorry, Mr. Feld, You were perhaps the world’s greatest circus press agent, but you failed to convert your name into iconic status. There will only ever be only one P.T. And I'm hoping they get this script right. They'd do better skipping music and lyrics, and playing it as straight drama with songs. Please, Hollywood, stay away from the contrived Broadway musical.

... Closer to littler, Carson & Barnes landing national publicity on Good Morning America, which went to Columbus, Wisconsin to film a segment themed "the traditional American Circus." Well, okay, I suppose. Footage to air sometime this October ... Hugo, as in Hugo, Oklahoma, finally ramping up its cultural credentials. City fathers and various circus-connected devotees having purchased a two story house across East Jackson Street from the Choctaw County Public Library, to establish Circus City Museum. At one time or another, 22 circuses have winter quartered in Hugo. Okay, will I get to meet Mr. Peterson Peanut himself? Yes, yes, not a nice dig. I’m all for a toast to Dory Miller, who in his heart of hearts strove to keep alive the 20s multi-ring big top. Some of his shows were mini epics, especially when he had a bundle of cracking good windjammers blowing across the sawdust ... Even a Ringling now walks the town! ...

That on again, off again, Russian horse show named Artania, it seems, has found a kind of angel to keep it on life support. Down there somewhere in Texas. God bless the poor liberated Soviets, who once counted on a lush government treasury to keep them in circus rings the year around, pensions promised too ...

Enough tea pot refills. Call it a bad day in Bolivia wrap.

Sabtu, 08 Agustus 2009

My Day in the L.A. Sun: Talking About the Rise and Fall of Trapeze


I’m on the frosting on top of the frosting. Monrovia. Next door to Pasadena. Big house with a mansionesque feel perched on hills that look mountainous. Maybe it's all an L.A. illusion set up for the day’s shoot.

This is where I’ll be making my return to the screen — first cameo since co-starring many years ago with Bette Davis (okay, co-starring with the extras in a Bette Davis film, but my mug did make it in) when she came to Santa Rosa to shoot Storm Center. That’s me up there, being prepped with the props for an interview about a legendary circus flyer. To my left, assistant Bryant Williams; to my right, documentary producer-director Philip Weyland.

It feels so L.A. Heck, everything down here feels so L.A. Show me a gutter on Sunset Boulevard, and I’ll find you a trace of lost glamour. When I lived on North Orange Drive near Fountain in Hollywood, down a few blocks was a cement making yard that still keeps cement trucks in motion. Around the corner up La Brea were the old Charlie Chaplin studios. Next door to me for a time lived the mother of the Carradine boys. Across the way was a guy who made IBM commercials.

Los Angeles is a dreamland of sets and the people who can’t resist wanting to be in them. My half-hour rail commute from Union Station on the Gold Line to reach boss man Weyland feels more like a Universal back lot tour. Settings changing from moment to moment, as if the city fathers laid out Los Angeles to attract movie makers. That was then. Nothing in L.A. ever feels nailed down. You just float and hope ... And now, some of it is sadly floating away, like the huge prop shop in North Hollywood. Tinseltown, like the circus, is vanishing.

Weyland is making a film called The Last Great Flyer — about the last great flyer, Miguel Vazquez. In case you didn’t know, before Ringling Bros. audiences ever got to see Miguel turn his first angelic quadruple somersault, in private Miguel turned his very first practice quad on my birthday. (No, I wasn’t there; he didn’t invite me.) And he caught those four miraculous revolutions down in Long Beach, the city where trapeze great Alfredo Codona died. Another soooooo L.A.

Now, anybody who can pin down this elusive circus icon (I tried for years), let alone get him to talk while a camera is rolling -- and talk while seated next to another iconic flyer named Tito Gaona -- has gotta have his L.A. cards in order. And that anybody is TV and movie actor Philip Weyland.

For 15 years, Weyland had assumed, by having read an erroneous news item, that young Miguel was dead. And he grieved. When he learned that Miguel was very much not dead, he resolved to make this film.

Weyland’s easy going crew consists of camera operator Jake Gorst (left); camera assistant Lubo Barnet (right), a Swede who speaks with a slight Asian accent -- how novel-sounding, from having married a Chinese woman; and still photographer and assistant Bryant Williams. When I arrive, these guys are puttering over cables and connections, getting all set up in sync with sound checks and sun rays to shoot yours truly answering questions tossed his way by interviewer Phil. “It’s going to be more like a conversation between us,” he told me, adjusting my mind set from apprehensive down to relaxed. Anything half-way spontaneous beats a Meet the Press inquisition.

We do the interview, actually more Q&A than back and forth, out on a deck overlooking the serene skyline while a few lazy clouds drop in and out, a little curious. And in the afternoon, after a catered-in lunch (how very you-know-what), we go inside. A change of shirts for me, on the production company.

While Phil and I continue the dialogue, camera man Jake Gorst monitors the surroundings like a Geiger counter, ever sensitive to a disruptive buzz in the air, an emerging crease in my shirt. We stop and start. Do that over. I had told them up front, “Don’t ever let me say ‘you know.’” They never intervened, so I assume, you know, that I didn’t, ah, you know, go lazy or whatever.

Darting about at will, Bryant snaps still photos in a cinematically mysterious manner, looking like a figure out of a Hitchcock thriller. He also serves as Weyland’s assistant, ever ready to bring that over here, or here over there. Or to discover, with professional displeasure, a tiny something in my hair and to remove it discretely.

Phil and I talk about the quad, about trapeze history, about a form of circus much favored by Phil that seems to be fading away, if not already gone. Philip Weyland is not a Cirque du Soleil guy, and he wants to know how the history of trapeze may fit into the bigger big top picture.

So much so, that Phil filmed Miguel returning to the air after a five year absence. He showed me a stretch of the footage, and I saw the God of Human Flight reach out and connect with the hands of his brother, Juan. Artists back together in a supernatural realm they ruled nearly alone for over a decade.

What a great time I have. My fifteen minutes in perfect dreamland sunshine. Now, was I really in a place called Monrovia, or just inside a Culver City sound stage? And how near might I be to the cutting room floor? And is there a net down there just in case?

Don’t tell me, L.A. Sometimes it’s perfect not knowing.


{photos courtesy of Philip Weyland]

Sabtu, 01 Agustus 2009

Little Big Top Bits: Bello Back to Big Apple ... Wandering Tortoise Berta Back to Zerbini .... A Boon to Boom A Ring!

He's a super cool-looking guy, who kinda still looks young and kinda looks funny and kinda entertains in his own quirky way. I Hear the kids are high on him. Maybe that's circus today. Anyway, Bello Nock, who ran away from the Big Apple Circus in 2000 to join Ringling Bros. and Barnum & Bailey, is running back to rejoin New York's treasure tent. Bello is promising "high falls, bungee-ing and trampolining." ...

Circus Vargas offering a fine and well illustrated "40th Anniversary edition" program magazine, and for the not outrageous price of $7 ... Not quite accurate, Guys and Gals. Cliff Vargas switched over from Miller-Johnson to Circus Vargas in 1974. Anyway, I'm not sure he would be very thrilled with the current edition -- one of those skimpy programs containing both class and crass in the same ignoble package ...

Another horse show biting the dust, down in Dallas. You knew it by the name Artania. And a "cold war" brewing between a Houston promoter, the city of Dallas and a landowner over the still standing though very abandoned tent. Beer bottles and other leftovers strewn about inside. "It's just an ugly tent," says says Joann Crenshaw, a customer of Fuel City, on whose parking lot the show rose and fell for the last time. Local officials unhappy, giving property owner 30 days to strike the stricken canvas ...

At least a tortoise has a tent to return to: Zerbini Family Circus's 114-pound Berta, who quit the show in mid-July for independent gigs around Madison, Wisconsin, got about two miles up the road where, appearing on a golf course, he was spotted. Berta, "part of the family for 10 years," according to Alain Zerbini, is back in his own backyard ...

Boom Boom Boom A Ring, My Love: Nice to see a legit critic agreeing with my high regards for Kenneth Feld's perfectly refreshing circus gem, now parked at Coney Island, but with few reviews to show for it. From TheatreMania's Ellis Nassour: "It's Ringling's first tent show in 50 years and it ranks as one of their best ever, in large part due to the direction of Broadway veteran Philip Wm. McKinley (best known for The Boy from Oz)." Please stay the retro-revolutionary course, Mr. McKinely, and get Mr. Feld to let you do more of the magical same ...

Cirque du Soleil's hosting venue in Hollywood, the Kodak Theatre, is getting a $30 million loan in federal money from the Los Angeles City Council, for retrofitting. CDS expected to pull profitable crowds for a decade. Let's hope the world is still around ...

Minggu, 26 Juli 2009

Sunday Morning with Showbiz David: What Value the Critic? A Mere Exercise in Ego?

A review is a very personal expression. Should be, otherwise it is as anonymous and bland as a corporate report, the synthetical product of group-think or a recycled press release. The idea of forming a composite of what a range of experts or consumers believe (similar to holding one’s fickle finger up to the wind) betrays the reality of an individual reaction, and forms an artificial construct.

Film critic Kenneth Turan of the Los Angeles Times once wrote about how he agonized over a negative notice he had composed for the movie Titanic, because a storm of critical acclaim had embraced it. Turan finally realized he had to go with his gut; there was no other way short of selling out to popular sentiment. To be a critic is to tread a lonely path, but it is the only authentic path to take. The moment you betray the truth of your reactive emotions is the moment you have lost your way.

If you are honest with your feelings about any work of art, “objectivity” is the conscious exercise of forcing yourself to focus on the work itself rather than on the producer, the director, the performer, about whom you may harbor ill will or adoration.

Our reactions to any and all elements are subjective. For example, consider the comedy bike rider Justin Case in Boom A Ring: I found his running monologue very amusing and so I gave him the highest marks, judging him worthy of Monte Carlo Gold. Another person, simply unamused, would likely issue a lower mark.

Justin Case also provided a circus through-line for me that actually worked. So did the straight-ahead Boom A Ring score. Both helped give the show a strong structure. Conversely, at the Big Apple Circus, I found the music, itself the star of this year's opus, to be ironically disjointed, and so that impacted on my overall score. Others who relished it from start to finish would naturally have given the show higher marks. Who is right? Nobody. We only have opinions to offer.

Everything in our makeup (desires, fears, affinities and aversions, life experiences, artistic preferences) that we bring to an artistic work is perhaps as defining as what the work brings to us. Which is why a film you might have dismissed at a certain age may, at a later age, engage you in surprising ways. You have changed; the film did not. Antonioni’s The Passenger moves me because, I suppose, it speaks to an existential sense of life deep in my soul. I know people who find it boring. The best we can do is to explain why we are moved -- or left unimpressed.

Is a review useless? Yes, to everyone except to those for whom it entertains or stimulates, amuses or informs or challenges. Indeed, to be engaged by a provocative point of view may cause you to reexamine your own. When a review totally agrees with your own reaction, you will feel happily reassured, but would you wish every review to affect you in this way? You would soon become skeptical. We are each too infinitely different to ever allow for such a curiously predictable outcome.

Can a review be instructive? Rodgers and Hammerstein acknowledged how Boston theatre critic Elliot Norton, when reviewing a new musical of theirs in out-of-town tryouts, would sometimes prove valuable in helping them figure out and solve scripting problems. And all of it from the notice Mr. Norton filed. Sometimes Hammerstein would engage in correspondence with critics.

To be a critic is an act of ego and conviction, and to that I plead guilty. It is to campaign for your values, hoping you will influence someone, same as what a philosopher or author, teacher or poet or preacher or columnist does.

We often trash critics, yet we wait to see what they have to say. Why? I suppose because we are drawn to the idea that an “expert” is better qualified to evaluate something than our friends or relatives, even though, in truth, anybody can write a review. All they need is an opinion and the ability to express it. Oh, yes, and a little working courage.

More about theory on some Sunday up ahead.

[photo by Boyi Yuan]

7/26/09

Sabtu, 25 Juli 2009

Bandwagon Tackles Shyster Phonemen and Dying Shrine Circuses; John Ringling North II on Employee Bloggers

Any circus producer out there suffering low or dwindling attendance should get his/her hand on the current issue of Bandwagon. It features a sober account by Shrine Circus author John H. McConnell, detailing why and how Shriners have been committing circus suicide. Statistical information solidly supports a perception held by many of us about drastically declining business and how Shrine programs have bloated up on all the junk and filler against which I have long railed. Among the leading Shrine customer complaints: Long intermissions, concession pitches, poorly produced and overlong programs, Shrine clowns.

Having this year endured much of the same on Carson & Barnes and Circus Vargas, it's obvious the owners aren't listening to me, and are pigheadedly pursuing same old same old. I wonder if they ever look into their near-empty tents? Maybe they will pay more attention to McConnel's excellent research tracking the demise of what was once a vibrant circus organization.

Bandwagon -- what an issue! -- also offers a gritty insider account by Mike Straka of many scam tactics used in the most notorious phone rooms in past years to relieve business owners of yet more money for bogus charity set ups.

I am not at all surprised. I recall, pitching press for Sid Kellner's James Bros Circus in 1969, going into St. Louis and being told to hold off on charming city editors and placing any newspaper adds. The boiler room was boiling over on a lush advance extraction of money, and Kellner actually feared if even a small percentage of the tickets showed up, he could not seat everybody. Kudos to your candor, Bandwagon!

Finally, as of this moment, John Ringling North II, in an e-mail message to Showbiz David, states his policy on employees who blog (his show has three bloggers; most other circuses have none):

“Our constitution guarantees freedom of speech, so Steve and Ryan are entitlted to whatever they like.”

This is a big issue which I intend to address more in depth in the off season