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The Venture Bros. Podcast: Season 7 Ep 2: The Rorqual Affair

Love the Venture Bros. cartoon but afraid of missing the myriad of historical references and layers of meaning behind each episode? Join pop culture and history experts Elana Levin (can one ever truly be a recovering art student?) and Steven Attewell (whose secret identity is that he’s an actual historian) for our Podcast examining each episode of Season 7 of this hit Adult Swim show.

This episode is about Season 7 Episode 2 “The Rorqual Affair”.

Featuring Jaws 🦈, 90’s conceptual art (also 🦈), Rat Island is Real and deep cuts into history are all topics radio’s podcast.

The Venture Bros. cartoon on Adult Swim references everything from Hannah-Barbara to Marvel, David Bowie to the Big Bopper, cult cinema to Scorsese, Oscar Wilde to Henry Kissinger. The show’s central theme is failure– the reality of life after the promises and optimism of the 60s space age have faded. But also the positive value of failure as a way to learn and grow, of making unpleasant realities better, and ultimately whether you can learn to keep the joyfulness of youth without its illusions.

Catch up on our podcasts of Season 6 right here (and on iTunes).

And our episode about the Season 7 premiere. 

Small Fish in a Big Con: Reflections on My First con as a Creator

In anticipation of my next con as a creator–the Madison Mighty Con, this Sunday from 10-5 (come say Hi!)–I started reflecting on my first con as a creator which took place earlier this year.

I had attended plenty of cons years ago, but this past spring was the first time I’d be attending a con as a creator.   Needless to say, this prospect was filling me with more anxiety than usual, so I decided to funnel that energy into something useful by preparing for the convention, starting about a month before the convention date.

mighty con logo

I started by ordering some extra copies of my graphic novels; I took my next step by cobbling together some bootleg signs that detailed my pretty low price points (especially for the first edition which sold at a lower rate due to a blander cover/spine); I continued these preparations with some more bootleg banners that proclaimed my business, my name, and my comic’s name: all scribbled in Crayola marker in my own chicken scratch.

I then prepared for the financial side.  First, I went to the bank to get cash (mainly small bills for change).  Next, I ordered a free chip reader from Square and downloaded their app, liking Square’s user-friendly system and relatively cheap cut.  After a few weeks, I still didn’t have the chip reader, so I ordered a new one, and it arrived a few days later–the same day as my first-ordered chip reader.

square chip reader

Image: Square chip reader

With about a week left, I decided to relax and stop most of my preparations.  Now, this wasn’t because I thought I was completely prepared.  No, I even knew of things I wanted to bring to a con but didn’t feel like I had time to prepare properly, like business cards.  Instead, I made this choice due to my social anxiety and introverted nature: I needed time to relax, charge up, and get the convention out of my mind.  Because, before I knew it, I’d be lost in a deafening crowd, sights overstimulating my eyes; even talking to fans filled me with fear.

This might seem a little odd, an author and publisher who dreads social interaction, but it’s just who I am as an introvert.  I have a love/hate relationship with people, especially since I work in crowded rooms with teenagers during the school year when I teach and since I’m starved for human interaction in the summer, sitting home binge-watching TV and writing.  I love people in the summer when my social batteries charged; I hate them in the school year when my social batteries running on empty.

Tweet about introvert comic

Image: a tweet from me regarding introversion (follow me @cj_standal on Twitter!)

The day of the con shortly arrived, and my girlfriend dropped me off at the Monona Convention Center loading dock, my plastic storage containers and cardboard boxes in scattered around me.  I found a flatbed cart, placed my stuff on it, and wheeled it into the convention center.  And, even though I’d been preparing for this event for so long, I still felt overwhelmed stepping into that center.  I felt like a small fish in a very big con.

While I’d been to Wizard World Con’s about five years ago and big Minneapolis cons as a high school student growing up in Minnesota, I wasn’t prepared for the way this smaller con would intimidate me.  Most other vendors and creators had already arrived and set up their booths, and I dreaded setting mine up in comparison.

Fancy, thick banners with bright images and eye-grabbing font draped over nearby tables; my banner was a white sheet of paper slung over the table, black marker staining its face.  Professionally printed signs hung from metal stands; my signs were manila folders sitting crookedly on the table, prices hastily written in marker.  A rainbow of comics, graphic novels, toys, art and more covered every other booth; I placed my three graphic novels on the table and fanned them out, hoping to compete.

first mighty con bigger pic

Image: my table at the convention

I shook myself, narrowed my field of vision, and stooped down to grab my materials.  I had resolved not to overreact to anything, and I was determined to keep that promise to myself.  My table might need braces, but it would still have one heck of a winning smile.  I set up my table in a haze.  Widening my vision again, I looked at my watch and realized that I had about 10 minutes until the on started, until those doors opened.

Trying to expend some energy, I decided to walk around a little.  I certainly wouldn’t have time to explore too much when the con started, so I wanted to see a little more details about my friendly competition.  A few tables into my impromptu tour and I knew I’d made the right decision: two people I knew were there selling some of their comics to clear out their collection (I knew them from local Madison comic store Westfield Comics, where I’d done some signings).  Not only did seeing some friendly faces and quickly chatting help boost my spirits, but the sight of their booth did too–they had no banners or signs, simply long boxes of comics hauled onto the table, comics loosely organized.  My own crooked smile didn’t see so bad in comparison.

Continuing my tour, I met some other friendly faces, new ones this time.  I stopped because an homage to Hopper’s Nighthawks caught my eye; this painting had Death Note characters sitting at that lonely diner, though).  After chatting awhile, I found out they forgot their chip reader, so I offered them my extra (waiting so long for two to arrive on the same day was a blessing in disguise, I guess).  I also talked to them about the upcoming cons they were attending, and planned some of mine accordingly.  It’s certainly no accident I saw them at my next convention in Dupage, but the story of my second convention is a story for another time…


Image: the actual Nighthawks painting (I couldn’t get an electronic version of the Death Note spun one)

I strolled back to my table, and sat down.  Only a few more minutes to go.

Before I knew it, the doors opened and a crowd of people streamed in.  The first few waves passed me by with a quick hello and a half-hearted smile but without slowing steps.  I wanted to hang my head.  I told myself to hold my head high and redouble my efforts, so I plastered on a smile and continued to cast my line.

Soon enough, people stopped in front of my table, smiling a little more freely, and asking questions.  Some bought my comic, some left only to come back later and buy them, and some left without buying it then or later, but all loosened me up, making me remember why I went to conventions in the first place.  I got to hear about their favorite comics, their convention history (or lack thereof, if they were a first-timer), their interests, and even family dynamics.  This helped me enormously as I signed copies of my comics, writing personal messages in addition to my quick signature, messages that became more fun and unique as the day and my conversations went on.

tommy w me at conImage: Me (on the left) with a fan (the one holding Rebirth of the Gangster Act 1: Meet the Family and Alterna Comics’ 2017 IF Anthology which featured an excerpt from Rebirth of the Gangster)

Payment went as smoothly as could be, although I was surprised by how much cash I was getting and how little need I had for my chip reader.  In fact, I had so much cash given to me that I briefly ran out of ones for change, causing me to break out in sweat in the air-conditioned convention center; shortly after that, a fan paid all in ones, drying my sweat.

The waves trickled to splashes, and eventually the day was over.  The con doors slid closed, and I was left to pack up my things.  Folding my banners and signs and placing my graphic novels in boxes, I let out a sigh.  I set my containers on the flatbed cart and wheeled myself once more to the loading docks, taking one last look at the convention center.

And I thought to myself: “I came here feeling like a small fish in a big con, but I’m leaving it as a big fish in a small con.  And I wouldn’t have it any other way.”

**Note: If you’re in the Midwest/Madison, WI area, join me this Sunday, August 12 from 10-5 at the Monona Convention Center!

And if you want to keep up with me, visit for news on latest publications, new blogs, free comics, and more!

IDW Entertainment President David Ozer Leaves Company for a New Venture

Kerry McCluggage, CEO of IDW Media Holdings, announced today that David Ozer, President of IDW Entertainment, will be leaving the company to become an independent producer.

IDW Entertainment was launched in 2013, and Ozer and his team have been responsible for building the division and successfully delivering three seasons of the critically-acclaimed Wynonna Earp and securing deals with Netflix to produce Locke and Key and V-Wars. IDW Entertainment also has a strong roster of projects in active development, with properties based on their deep and growing library of comic books and graphic novels, as well as properties created by their many friends in the writer/producer community.

Bad News for Geeks: The Oscar for Achievement in Popular Film

And the Award for the Worst Idea for Awards Shows 2018 goes to. . .  The Academy of Motion Picture Arts and Sciences announcing an award for “outstanding achievement in popular film.”

It’s stupid, it’s pandering, it’s condescending, and also potentially racist.

On first glance, geeks might rejoice! “Finally, a category that will reward the movies I love — Star Wars, Marvel, DC, Harry Potter, Jurassic Park!”

Well yes. And no.

The Academy is correct in identifying that fewer and fewer people are watching The Oscars every year. But this won’t help with that– at all. Yes, please, add more categories and ones that will represent the best in pop geek cinema. In fact, I identified five such ideas earlier this year. I quote myself:

“Most of the Best Picture nominations have made less than $100 million. NONE of the top 10 grossing movies of 2017 are nominated for Best Picture or Best Director. While we should in no way conflate box office with artistic merit, … it’s no wonder the public tunes out– because the Oscars celebrate what Hollywood likes in its movies, but not necessarily the rest of the country. In fact, of the top twenty best performing films of 2017, you only have two that received Best Picture / Best Director nominations — Dunkirk (16th) and Get Out (18th).”

My personal favorites of 2017 included blockbusters and artsy movies. While I would never expect to see Atomic Blonde nominated for Best Picture (it was also only a minor box office success), I am surprised that amazing films like Coco and Your Name are not. (Note: I am talking about the time-travel-starcrossed lovers anime Your Name and not Call Me By Your Name). But why are they not nominated as Best Picture?

Because they are animated films, and animation has its own separate category. Films like Zootopia, Inside Out, and The Incredibles deserve Oscar buzz. But they will never get it because they are stuck in the same situation we are about to put “popular” films in. This is the same problem documentaries have– films like Man on Wire, The Act of Killing, Cave of Forgotten Dreams, or 13th should all be considered amongst the best films of their respective years. Ditto for foreign language films.

The Academy should be asking, “Is how we choose Best Picture, Director, Writer and Actor nominees maybe not considering a whole slew of great films because our voting population is mainly old, white men who are susceptible to lobbying/bribery/marketing from the major studios and bullies/abusers like the Weinsteins?” Instead they’re saying, “Maybe if we nominate one of these superhero movies it will get these rubes off their tractors and turnip trucks.”

In the wake of controversies like #OscarsSoWhite, they are trying to increase the diversity of what films they consider, but this will ultimately backfire. Let’s be 100% real — if this category had existed last year, Get Out would’ve been in it. How do we know this? Because at the Golden Globes, it was nominated in the “Musicals and Comedy” slate.

It’s not hard to posit that the following conversation took place:

A: “They’re going to call us racist if Black Panther isn’t nominated for Best Picture.”
B: “Well, what if we designed a new category it can be sure to win, so we don’t have to worry about it?”
C: “Yes! A separate, but equal, award for. . . best popular movie or something.”

Or maybe the answer is just make sure the people voting are given the option to, you know, vote for Black Panther. And maybe extend your voting to enough people to make sure it can happen. And you don’t have to pander. You don’t have to condescend. But that, of course, would require you to make Hollywood less of an old-boys-club run by suits looking at spreadsheets. The key is having a younger, more racially diverse, more equal in terms of gender ratios group of voters, which means having more of those people making the films we love. But nah, let’s just make a popularity award.

This is not at all to poo-poo “popular” movies. I will fight you why Captain America: Civil War was the best movie of 2016 (and Captain America: Winter Soldier the best of 2014). Of the 100+ films I’ve seen and reviewed this year here on Graphic Policy and elsewhere, Black Panther has so far received my highest score. It shouldn’t be nominated for an award because it’s “popular”– it should be nominated because it’s a damn fine movie. Again, I will fight anyone who says differently. I love nothing more than sit down and obsessively talk about the minutae of Ryan Coogler or Rian Johnson’s work.

Do I want The Last Jedi to be nominated for Best Picture? Sure! The original Star Wars was nominated for Best Picture and should’ve won against Annie Hall, and Rian Johnson’s masterpiece is in that same echelon of great Star Wars movies. (Yes, @ me if you must, because I will die on this hill and am happy to block tons of trolls on Twitter)

But what I don’t want is every year or so for a Star Wars film to get a participation trophy because it made so much money. It doesn’t need a popularity award– it just made a billion dollars! It’s @#$%ing Star Wars — one of the most culturally ubiquitous things on the planet. That’s enough. If you’re going to reward it for its cinematic achievement, then do so. But don’t do it because you think it will get more eyes on a tv broadcast. (SPOILER ALERT: It won’t.) That path leads to the Dark Side. . . and the Star Wars Holiday Special.

What it will do is ghettoize great films just because they are popular.

Let’s play this out. This year’s nominees will likely include Black Panther, Avengers: Infinity War, Incredibles 2, Mary Poppins Returns. . . yes, those are all Disney films. Add in Deadpool 2 as a soon-to-be-Disney property. Anyone see a problem with this? First, if you’re literally any other film, why even bother? Second, remember that the Oscars telecast is on ABC. If this category — even just for this year — is just an extended commercial for Disney’s corporate holdings, then, again, why even bother?

The biggest tragedy will be if groundbreaking genre films like Sorry to Bother You, Hereditary, or A Quiet Place get relegated to this category.  Again — 100%– Get Out would have been in this category last year. So would Logan and likely Wonder Woman. We shouldn’t be content with this, but instead demand that real artistic work be taken seriously and not dismissed out of hand as though “Best” and “Popular” are largely mutually exclusive categories. Both James Mangold and Patty Jenkins deserved to be nominated as Best Director and their films nominated for Best Picture. Instead, we get Three Billboards Outside Ebbing, Missouri and Darkest Hour. 

It’s precisely that kind of bullshit that makes people not tune in. Another movie about Dunkirk? (and the absolute worst of the three released in 2017!) And a misguided discussion about forgiveness that completely misses the mark, especially when it comes to issues of race? Yeah, no. Ain’t nobody got time for that. Ghettoizing Get Out, Logan, The Last Jedi, and Wonder Woman into a “popular movies” category wouldn’t fix that.

Apologies for using the word ghettoize. I do not do so lightly. I do so in the literal sense of segregating people based on outward characteristics in order to provide them with substandard services.

While The Academy would like to be more diverse, this category will serve as a “runner up” category to keep films like Black Panther, Sorry to Bother You, A Wrinkle in Time, Crazy Rich Asians AND their filmmakers away from the podium.

That’s not fair, and it’s not ok. I made a joke earlier about a “separate, but equal, category.” That’s what this is. As long as it exists as a consolation prize while “real” art gets nominated for Best Picture, it will serve to “other” deserving filmmakers.

While this will be good news that early next year we can stop remembering that the only recent movie based on a comic book to win an Oscar is Suicide Squad (executive produced by supervillain Treasury Secretary and therefore fifth in line for the presidency Steve Mnuchin!) that is likely the only good thing about this situation. Sure, Ryan Coogler might get to accept an Oscar, but he deserves to be in the same category as Spielberg and Scorcese.

The Venture Bros. Podcast Season 7 Episode 1

Brock venture bros season 7Love The Venture Bros cartoon but afraid of missing the myriad of historical references and layers of meaning behind each episode? Join pop culture and history experts Elana Levin and Steven Attewell (whose secret identity is that he’s an actual historian) for our Podcast examining each episode of Season 7 of this hit Adult Swim show.

This podcast is about Season 7 Episode 1: “The Venture Bros & The Curse of the Haunted Problem.”

order of the triad season 7 ep 1

The Venture Bros. cartoon on Adult Swim references everything from Hannah-Barbara to Marvel, David Bowie to the Big Bopper, cult cinema to Scorsese, Oscar Wilde to Henry Kissinger. The show’s central theme is failure– the reality of life after the promises and optimism of the 60s space age have faded. But also the positive value of failure as a way to learn and grow, of making unpleasant realities better, and ultimately whether you can learn to keep the joyfulness of youth without its illusions.

You can catch up on our podcasts about Season 6 right here (and on iTunes). They were WILDLY popular. Thanks for your support!

Demo-Graphics: The State of DC Entertainment

We’ve kicked off our yearly review of comic fandom demographics! We’ve already posted Facebook‘s general stats, and tomorrow will be Marvel, followed by Indie comics, and the industry as a whole. Up now is DC Entertainment.

This statistic breakdown, we’ve looked at terms like DC Comics and Vertigo Comics, but not specific comic series or characters. It’s a focus on DC Entertainment and its publishing imprints. Think of it as looking at the DC brand.

Facebook DC Comics Fan Population: Over 28,000,000 US

In the year since we’ve run these stats, the population has grown 5 million. In 2017 it stood at 23 million and 2016 it was 11 million individuals. In 2015 it was 12 million and in 2014 it was 7.6 million.

In 2014 Spanish speakers accounted for 14.55%, 2015 it was 14.17%, in 2016 it was 18.18%. 2017 the group shrunk to 12.86% but the population grew 1.6 million to 3.6 million individuals.

Gender and Age

In 2014, men accounted for 68.18% and women were 28.64% of the DC population. In 2015 men accounted for 73.33% and women were 27.50%. In 2016 56.36% of the population was male and 40% female. in 2017 it was women for 47.83% and men 52.17%.

In the year since, women are now 53.57% and men 46.43%, this follows the trend we’ve seen for the last ten months of women being the majority of comic fans

And here’s the stats in a handy pie-chart.

Unlike last year, men are at no point a majority. In facet women are over 60% of the fans under the age of 18. While we might not know why, there’s a chance DC Superhero Girls have helped grow that segment.

Relationship Status

The overall population has increased and so have most of the below. Those that haven’t have seen no change. There are some individual genders that have decreased though. Single men is an example and that decreased 200,000 while the overall population of that demographic grew 400,000.


Much like the above, some increased and some decreased for specific genders.


Every ethnicity has grown since last year. African American fans increased by 1.2 million. Asian Americans saw an increase of 110,000. Hispanics saw an increase of 1.1 million with each sub-group increasing as well.

Come back tomorrow when we’ll look at stats for Marvel!

Wrestler Kane, aka Glenn Jacobs, Wins Mayoral Bid for Knox County, Tennessee

While we don’t regularly cover wrestling, we do have a political bent, so we bring the news that the Big Red Machine is heading to the Mayor’s office. Glenn Jacobs, who is better known as the WWE wrestler Kane, won his bid for Mayor of Knox County, Tennessee.

Jacobs beat his opponent by a wide margin garnering 51,804 versus the Democratic nominee Linda Haney’s 26,224. Jacobs won the Republican primary by just 23 votes over fellow Republican Brad Anders.

Knox County is the home to Knoxville and the third-most populous count in Tennessee.

Jacobs originally wanted to play pro footbally but a knee injury ended those dreams. Instead, he focused on wrestling and spent years in local promotions before joining the WWE in 1995. He debuted “Kane” two years later.

Jacob’s new position isn’t a strange turn for a wrestler. Jesse Ventura was elected governor of Minnesota on the third-party Reform Party ticket in 1998 and served as mayor of Brooklyn Park, Minnesota from 1991 to 1995. B. Brian Blair was elected Couty Commissioner in 2004 for Hillsborough, Florida. Rick Steiner won for school board for the Cherokee County School District in 2006. Ludvig Borga spent seven years on the Finnish Parliament. The recently deceased Nikolai Volkoff ran in 2006 for Maryland State Delegate but was unsuccessful. Jerry “The King” Lawler ran for Mayor of Mepmphis and garnered 11.7% of the votes coming in third. Bob Backlund ran for Congress in Connecticut in 2000 as a Republican and lost. Linda McMahon, the CEO of the WWE ran for U.S. Senator in Connectict losing with 43% of the vote. She’s currently a member of the Trump Administration heading the Small Bussiness Administration. Antonio Inoki was an extremely successful politician whose career began while he still competed in the ring. He was elected to the Japanese House of Councillors in 1989 and even led a one-man mission to Iraq in 1990 to negotiate the release of Japanese hostages with Saddam Hussein.

Disney and Fox Shareholders Approve Merger. Still Needs Government Approval

At a special meetings early this morning, Disney and 21st Century Fox shareholders approved the merger of the two companies. Disney said the 99% of shareholders voted for approval while Fox said a “majority” approved it. The final tally would be in an SEC filing at the end of the day. The whole process took about 10 minutes. Few spoke when given an opportunity.

The $71.3 billion deal has to pass through regulatory hoops. Most of the consequential reviews have already been completed when the Department of Justice reached a settlement with Disney.

Disney will be required to divest twenty-two regional sports networks in order to complete the acquisition. The Justice Department Antitrust Division filed a civil antitrust lawsuit in June to block the acquisition. The concern is over higher prices over subscription prices.

While concerns have been raised over cable prices, it doesn’t seem that concerns are being raised over movie ticket prices where Disney will control around 60% of the market and has already brought pressure on theater owners as well as reporters. Consumers will likely suffer from the merger and decrease in competition. The company will also own a majority of Hulu. It is expected the merger will cost 5,000 to 10,000 jobs.

Fox shareholders will get $38 per share in either cash or shares of New Disney, a new holding company that will become the parent of both Disney and Fox. Disney expects to pay about $35.7 billion in cash and 343 million new Disney shares to 21st Century Fox stockholders. Fox stockholders will own about 17-20% of New Disney on a pro forma basis.

Kennedy Center Honors Jazz Saxophonist, Composer, and Comic Writer Wayne Shorter

Cover art for Wayne Shorter’s “Emanon”

The Kennedy Center has named its 2018 honorees. This year’s recipients of the Kennedy Center Honors include country singer Reba McEntire, composer Philip Glass, Cher, and the creative team behind the musical Hamilton.

One stood out and has a connection to the comic industry, jazz saxophonist and composer Wayne Shorter. Shorter is a progenitor of jazz fusion and collaborated with Miles Davis, and he’s also written comic books too.

When Shorter was 15 he wrote and illustrated his own comic book with a ballpoint pen, that was 1949. Since then, he’s a 10-time Grammy winner and a highly regarded composer in modern jazz. Through that success in music Shorter held on to his teenage love of superheroes, sci-fi, and comics. His new release, Emanon, which comes out August 24th, includes an original graphic novel.

The graphic novel, co-written with Monica Sly and featuring art by Randy Duburke, is a cosmic-heroic odyssey. There just so happens to also be three discs of new music.

That music is by the Warner Shorter Quartet which features Shorter on soprano and tenor saxophones, Danilo Pérez on piano, John Patitucci on bass and Brian Blade on drums. Disc one also features the Orpheus Chamber Orchestra, a 34-piece ensemble, performing a suite composed and arranged by Shorter.

That suite has four movements, “Pegasus,” “Prometheus Unbound,” “Lotus,” and “The Three Marias,” each with their own theme in the graphic novel. It draws inspiration from the concept of a multiverse and features a character names Emanon (No Name backwards) standing in for Shorter. The story alludes to dystopian oppression taking ideas from Shorter’s anchoring in Buddhist teachings.

This year’s ceremony will take place Sunday, Dec. 2, 2018 and will be broadcast on CBS December 26 at 8 p.m. ET.

wayne shorter

Graphic Policy Radio Podcasts with 2018 Eisner Winners

Graphic Policy Radio has had phenomenal guests over the years. Several of the winners of the 2018 Eisner Awards have guests on our podcast. We’re offering theme our congratulations, especially since each of them has broken new ground diversifying the awards and industry. Check the links below for our podcast interviews:

Congrats to Saladin Ahmed & Christian Ward for Black Bolt, Best New Series. We interviewed Saladin Ahmed about Black Bolt and his creator-owned series Abott in January. Pretty sure he’s the first writer of Middle Eastern heritage who’s won for a superhero series let alone for Best New Series.

Congrats to Taneka Stotts, editor of Elements: Fire, A Comic Anthology by Creators of Color for Best Anthology. Her leadership at Beyond Press has just helped to usher 32 creators of color onto the list of Eisner winners. She said in her acceptance speech that we “declare war on an antiquated mentality that tells us our voices and stories aren’t ‘profitable’ enough.” I interviewed Taneka Stotts just a few weeks ago!

Congrats to Marjorie Liu & Sana Takeda for Monstress which won Best Publication for Teens and Best Continuing Series. She is the first woman to win the Best Writer award which she also won in a tie.  We interviewed Marjorie Liu back when this series first began.

Congrats to Karen Berger, legendary founding editor of Vertigo Comics who was inaugurated into the Hall of Fame. Karen Berger spoke to us about one of her recent editorial efforts, Surgeon X and her return to comics.

Each of these links goes to SoundCloud but all of these episodes are also available on our iTunes feed. Just look under our account.

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