The Scott Townsend Show
Conversations, perspectives, and insight from some of the brightest minds, facilitated by everyone's friend, Scott Townsend
The Scott Townsend Show
#246 Angie Jordan - Seeing the World Through the Art of Caricature
Likeness isn’t luck—it’s design. On this episode, I sit down with live digital caricature artist Angie Jordan to explore how she turns a trade show aisle into a packed crowd and a stream of branded keepsakes. Angie breaks down the math behind caricature—allocating space to the biggest feature, exaggerating for clarity, and composing faces that are often more recognizable than a photo.
She shares how she teaches kids with her “30-box” method, reads silhouettes at a hundred feet, and blends drafting precision, showmanship, and portable tech—from Wacom tablets and compact rigs to fast printers and client-facing TVs. We also talk branding, style, and influence, from Hanna-Barbera to Al Hirschfeld, Steven Silver, and Tom Richmond, and why embracing quirks often beats chasing symmetry.
If you’re planning a booth, corporate event, or wedding, Angie offers practical tactics to drive dwell time, spark conversations, and create shareable art that keeps your brand in the feed.
Check out her work and book Angie at angiejordan.com
and on Instagram at @AngieJordan7. If this conversation sparks ideas for your art or event strategy, subscribe, share, and leave a review so others can find the show.
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Resources and Links
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My contact info:
LinkedIn https://bit.ly/2ZZ4qwe
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Send me a text: 918-397-0327
Executive Producer: Ben Townsend
Creative Consultant: Matthew Blue Townsend
Shot with a 1080P Webcam with Microphone, https://amzn.to/32gfgAu
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Voice Actor: Britney McCullough
Logo by Angie Jordan https://blog.angiejordan.com/contact/
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Welcome to the Scott Townsend Show, brought to you by Beats O Man Productions.
SPEAKER_03:Oh, frost. Yeah. We have to update your caricature.
SPEAKER_00:Yeah, just it's almost all white now. It's just too much stress, I guess. Who knows? Well, thanks for doing this. I really appreciate it.
SPEAKER_02:Yeah.
SPEAKER_00:Uh you sounds like you've been busy uh this last year.
SPEAKER_03:This past year has been really, really picked up since COVID.
SPEAKER_00:Yeah. You said you went to uh Euro Eurocature, yeah. Yeah. And then into uh I S C A.
SPEAKER_03:Yeah, that's International Society of Caricatures.
SPEAKER_00:Yeah. Yeah. So uh thanks for taking the time to be with us today. Uh first question like I always ask, what'd you have for breakfast this morning?
SPEAKER_03:Oh my gosh. You know, I had something very different. I had uh uh yams, yam with some walnuts on it.
SPEAKER_00:Oh I'm not even sure I know what a yam is.
SPEAKER_03:Uh sweet potato.
SPEAKER_00:Okay, okay. Yeah, I did have some walnuts this morning with my eggs, yeah. Love walnuts. But uh, you know, one of the things you had mentioned um in our back and forth before the this the show is your you gave a talk uh yurkature uh was that where the math and art yeah presentation you did for the so tell me a little bit about that.
SPEAKER_03:I um they told me I could uh do my um presentation on anything related to caricature. So I wanted to present something uh that I've done for some of the school children throughout the years. I started to come up with some animation projects to show how a math is related to art. And um we have, you know, what you know when you're young, you always draw the fruit, the fruit bowl. So that's kind of important because of the whole size relation and the volume of the fruit and how it sits and and the composition. So with caricature, even though you think we're just turning somebody's nose into a big nose, it's not really all that it that's uh that it's about. It's about taking someone's face and seeing what's the biggest thing on their face, right? And drawing that bigger, but you have to take away what's smaller to in order to make the big bigger. So there's a math um uh mathematical thought in everybody's mind, but they might not think that they are thinking this.
SPEAKER_02:Right.
SPEAKER_03:Um, so it's just like taking, like I used to say, cut a sheet of paper in in 30 pieces, and now I'm gonna draw this guy's uh nose really big on the paper, right? And I'll say to the kids, so how many boxes or squares can you um uh takes up the nose, and they'll say 15, and I'll say, well, 30 minus 15 equals, and they go 15, and I go 15 blocks left to make the rest of the face. So it tries to tell you how you're emphasizing something big with art or with math, and then taking away, subtracting from the face to fit it on the paper.
SPEAKER_00:That's cool. Yeah. Um how do you just I'll ask this and maybe cut this part out. How did you discover the connection between math and art in your work?
SPEAKER_03:Um, I think it's related to me being a um CAD technician for an engineering company. Um years ago, I wanted to go to school for art and I thought of a graphic designer, but I wanted to specialize a little more because I am very good at math. And I found that draftsman was the my my thing. So um I went to school for drafting and I even served in the army as a draftsman, uh designing maps and overlays, and I got into uh building designs. And with building designs, it's all about the 2D perspective and calculating math and vector files, and then I started drawing caricatures and got more into that. So during the day, I was drawing um, you know, on um, you know, vector files and at night drawing on paper. And I also got involved in being an SEO, which is a sewage enforcement officer. Have you ever heard of that? Where they design your septic tank of on your property, they dig holes and they design what kind of septic tank is going to be. So I did a little SEO. It's called SEO, yeah. Sewage enforcement officer.
SPEAKER_00:I I know SEO is search engine optimization, but I've never heard the SEO, yeah.
SPEAKER_03:And so I got a license to do sewage designs. And uh, so uh there was always this joke going on with uh my family that during the day I work on septic systems and at night I draw caricatures so they call me shits and giggles.
SPEAKER_00:How did you get from uh that's funny? How did you get from you know you come home from work, Vector, you're doing messing with septic sewage, whatever, blah blah blah. And then yeah, and then uh to how how did you make how did you transition to caricatures? I mean, what what was the what was the draw there? What was the trick?
SPEAKER_03:The draw, no pun intended, right?
SPEAKER_00:Yeah, yeah.
SPEAKER_03:I always like to draw, so I was always drawing portraits and things and and cartoons and copying it since I was five years old. And I did I excelled in art all the time and math and English and and then uh when I became that draftsman, um I started to um doodle uh designs in CAD, you know, with a with my uh mouse, you know, and doing vector drawings. But when I was on the side doing caricatures, I started to realize how much money I could make on the side doing my art. At first, I started a portrayal, but then when I got involved with the Cartoon Society, the ISCA, um, it sort of opened up a whole new can of worms of stretching the nose and getting fun with things and realizing how fun it is to draw a little more comical, you know. So when I did that, and I was starting with CAD, uh Autodesk uh came out with uh the digitizing map tablet, which I was tracing on. So I started to trace my caricatures into my computer. And then the first Walkham tablet appeared late 90s, I think. I don't know exact year, I think it was late 90s, and um I decided to buy that tablet because it came with the stylus pen and it connected to your computer, and that's how I started drawing on the screen. And I at first I was just tracing my caricatures, you know, into digital, and then I start to learn to just draw straight on with the tablet after I got used to the pen uh on the screen. The feel, yeah. Yeah, the feel of it.
SPEAKER_00:Yeah, that's cool. I uh remember watching you uh when you were at our events uh many years ago now, and uh it was just amazing how your pen and your tablet was it was just like a sheet of paper, and uh there's a few technical things where you have to click this button to go to here, and I'm sure you get all used to that the more you use it. Oh, yeah. But um man, we had so many people stopping by our trade show booth to get their caricature done. Uh, you know, you always want to have some a draw of some sort so that people will not just walk by your booth but hang out.
SPEAKER_02:Right, right, exactly.
SPEAKER_00:And and you provided that, and we had a line all day. You were drawing all day.
SPEAKER_03:You know, it's still it's still big lines. It's amazing how many people still want this, and uh, you know, sometimes they want their dog drawn with them or they're drawn from a photo, but at the conference we try to focus on the people attending because that's what the client wants. The client wants, you know, to engage about their product while I'm sitting there entertaining.
SPEAKER_00:Right. Yeah, and that that's that's a great uh yeah. And if you're running a trade show or you you got a trade show booth and you're trying to figure out how to make it sticky and get people to stop, yeah, uh get Angie, she'll uh she'll help you out big time.
SPEAKER_03:Yeah, my style is not too crazy, you know, um, but it's likeable and very cartoony, uh colorful. And uh yeah, I I I get a lot of people saying I capture their likeness in a fun way.
SPEAKER_00:So it's everybody seems to really enjoy that. I know I'm I still use my caricature for this podcast that you did those many years ago. Yeah, yeah. Uh it's funny how people will stand in line uh to let you make fun of them.
SPEAKER_03:Yes. Yeah, and it's not really it's not even making fun, more or less. It's kind of like I like to make it look like they're a character from a children's book, you know?
SPEAKER_02:Oh yeah.
SPEAKER_03:Like that's the look. It's more like a cartoony feel than it is more of a caricature feel of stretching the nose and going way too far. I mean, it it is hard to exaggerate a lot, you know, in five minutes.
SPEAKER_00:So the uh I was thinking, you know, when you exaggerate a person's features, it should make them unrecognizable. Yeah. But it doesn't. Do we I wonder, do we see in caricature? Like uh uh, you know, when you look at a picture and you see uh the nose or the eyes, you know, whatever has been embellished has been uh exaggerated. We already see that maybe we just didn't realize we see it, like a big forehead or or small ears, big ears, you know.
SPEAKER_03:The way I I think about it is if you had a friend enter the room from you know 100 feet away, you're gonna recognize your friend by the biggest features on them. Whether it's their forehead is big, their ears stick out, so you know who it is. So caricatures have been proven that you can recognize a person more because we're only taking the features that stand out and making it bigger, and the features that you less see from far away are smaller. So they they actually did some kind of um testing online years ago with making a square around uh uh a celebrity's face, like just to hear, and it's just from the photo, and try to guess who the celebrity is. Well, more people guess the caricature of the celebrity at this angle. Really did the photo of them.
SPEAKER_00:So I guess we maybe we do see in caricature a little bit. Maybe we do uh focus on the uh uh the the things that are not in proportion. I mean, I don't know, is there a good proportion? Is there a perfect no?
SPEAKER_03:I think the the odder the person looks, the the more we like the person, I think, because we recognize them more, you know, they have some kind of character to them. That's why today when people change their noses and and and to you know change some kind of feature about themselves, they become a little less recognizable, and then um they become like all the others if it's the same kind of nose, same kind of lips. Right, you know, so we want that distinguish, you know, character in front of us.
SPEAKER_00:It's so we should lean into our imperfections rather than try to run away from them.
SPEAKER_03:We should learn to enjoy them.
SPEAKER_00:Yeah. And and uh and you're really good at bringing that out so we know what to look for.
SPEAKER_03:There you go.
SPEAKER_00:All right, you uh when you travel and you travel a lot, um and you've been in a hundred thousand ven thousands of venues and stuff, what's your favorite place to go to?
SPEAKER_03:In like in the world or in the United States?
SPEAKER_00:Um we'll start with the world.
SPEAKER_03:Uh well the most uh interesting place I've ever been was India, because it's a real game changer there with uh the traffic all over the place and different uh you know types of uh people and food and stuff, and it gets a little crazy. But I've been to Australia, which was very, very America friendly. Um I would say my favorite place though would probably be um uh Italy, going to Italy.
SPEAKER_00:What is that?
SPEAKER_03:The food is great, the the old the old feel of um the roads, the cobble street roads and the little restaurants and the you know the whole you can stay as long as you want in the restaurant and open up a bottle of wine. They're not trying to get you out.
SPEAKER_00:Yeah, not trying to flip the table, like a turn the table there, yeah. Never been there, that's cool. Yeah, we uh in the in the United States when you're going somewhere, where do you hope you'll be going next?
SPEAKER_03:Um, I really enjoy New Orleans. I don't know why. I think there's just a really good vibe down there. People come alive, and yeah. Um, you know, maybe who knows, maybe it's the fact that they can carry their booze on the streets is what makes everybody more alive, but right it just seems like a festival throughout the whole place, you know. People around the corner and shops, you know.
SPEAKER_00:They have their own food, their own language, their own entertainment, their own music. It's like a foreign country.
SPEAKER_03:Exactly. And of course, uh, I've been to Hawaii once for um a conference, and that was really nice. You know, the weather there is like if you want perfect weather, wow.
SPEAKER_00:Yeah. So when you travel with your uh uh equipment, I'll call it equipment. This uh it just fits in a little suitcase, right?
SPEAKER_03:Or right now it it's all compacted into a little suitcase with, and if I have to bring the TV, it kind of just floats in the big suitcase, you know. But um most of the time the the clients will provide a TV for me and I could plug into that. Um, but years ago when I first started, it was a 21-inch Syntheak on my shoulder, and it it I swear I'm probably walking lopsided now. I remember a guy trying to help me with it, and he goes, Wow, this is heavy. And I had to run to to catch my plane a couple times with that thing on my shoulder.
SPEAKER_00:Wow. Explain uh for those watching, listening, what the setup's like. So help me help us visualize uh what what you do at the trade show. You do more than trade shows.
SPEAKER_03:Uh yeah, I do corporate events and weddings and stuff.
SPEAKER_00:And so how do you set how do you set it up? What what can a person expect like that?
SPEAKER_03:I continue to use a walk-um tablet. Um, and it's a 16-inch, so it's smaller. Now it now it's uh portable and very easy to carry. And it's on a tripod in front of me, which connects straight to a printer and the TV. So the TV is connected by HDMI from the tablet, and they can watch um, you know, as I draw in action, and that's a a real draw itself, you know, to watch me in action. And then I print um color four by six for their badge sleeves, and they can download it right away, you know. Um, they can download it within minutes and share it on social media, and it has the client's logo in it. So it gets uh it gets to show what the client is about and show what the gift they give.
SPEAKER_00:That's great. And I know uh I think the way we had it set up was they couldn't see the TV. Right. The crowd could see the TV.
SPEAKER_03:Because the crowd builds up and wants to see uh their reaction when it's done. So it's a big build-up.
SPEAKER_00:And so when you're getting your picture taken, drawn, your your caricature done, and you see the crowd looking at you, looking at the TV, and you can see them laughing or pointing, and you're wondering what is going on, you know, what is she drawing? And so, yeah, the reveal at the end when you get to turn around and see, you know, the caricature, it's hilarious.
SPEAKER_03:And and you know, you know, um, in the in the very, very beginning, uh, when I didn't, I don't think I wasn't the first to do it, but uh, we were the first to call it live digitalcaricatures.com and write the book about to help other artists. So um we had the TV facing the people at first, and it was it became very messy. The people weren't looking at me, they were looking at the TV like like this, watching the process because it's every line and stroke is going there, and they could see it, and they wouldn't understand the line quality, and they would see a lot a line as I'm drawing their top lip and say, Oh my god, I don't have a mustache. And I'm like, That's not your that's not a mustache, it's your top lip. So I started to panic a little bit, and we decide to turn it away from them and show it right then and there. We just turned it okay away, and it ended up being a success when they didn't, you know. Have you ever had anybody have a negative reaction to their I think every caricature artist has, and it's only because art is subjective, and if they don't see what they're getting before they sit down, they'll be surprised, and either they like it or l or not like it. And you know, I've seen portrait style artists get complaints, you know, so it's all depends on that person's insecurity, what they chose, how they drew it, you know.
SPEAKER_00:Most people enjoy it, I think.
SPEAKER_03:Yeah, overall they do, and they should see the artist's work before they sit in the chair, I think. Yeah, know what they're getting.
SPEAKER_00:Right. And yeah, I think we all are aware of our uh maybe some of us aren't.
SPEAKER_03:Our insecurities.
SPEAKER_00:Yeah.
SPEAKER_03:Yeah.
SPEAKER_00:Uh I know what a I I know for sure what what like what you were gonna pick up on me, the big forehead and the you know the dimples. But I guess it's it's kind of funny when some people uh don't like it. I kind of I feel sorry for them because they don't like themselves. Yeah, they don't that's sad, you know, because I just I'm just you're just uh embellishing what is already there, what we see every day. I don't know what you're looking at, you know, when you look in the mirror, but they uh I kind of feel sorry for them because uh Yeah.
SPEAKER_03:And you know, when we go to the caricature convention, which was just like uh last week um in LA, we compete. And when we come there, we have to um understand our features because people are gonna draw you, and you need to understand that they're gonna pull it, pull out the nose, pull out whatever they can because they want to win that competition for over exaggeration. And so when you go there, you're sort of surprised the first time you come there and you're overwhelmed by the art and the great art in the room, but then you get used to your features and you you understand. You might go, Oh, really? Did you have to draw my nose big? Yeah, yeah.
SPEAKER_00:But that big, yeah.
SPEAKER_03:You know, you gotta just learn to love yourself, you know, no matter what. And then you can appreciate those things because everybody will draw you differently, but it's always the same feature that is big and that is small to make it look like you. Yeah, they pick the same item, although they just draw different shapes and different forms and different styles.
SPEAKER_00:So yeah, yeah, that's right. You know, caricature artists. Um, you get five of them together, they're they're gonna draw the same face, but man, they can uh there's all their styles are and can be and are wildly different. And they're still doing they're still pulling on the same imperfections, they're the the the the uh points that are noticeable. Yeah, but they but you can also notice anatomy, their their anatomy, yeah. Their anatomy, but you can also recognize uh the caricaturist's style.
SPEAKER_02:Yeah, exactly.
SPEAKER_00:Some of them have uh like Al Hirschfield, he would do it one way, and you're gonna do it another way, but you're all gonna pick up on uh probably the same things, but just communicate it in a little bit different way.
SPEAKER_03:We all study the masters, like I studied Al Sh uh Al Hirschfield years ago, and I realized what a genius he was with his work. I was wondering what was the big hub about him, you know. And when I studied it, I was amazed um not only his the the least minimal amount of lines that makes it look like you and the flow, how it goes like from the arm, you know, into the hand, and the composition was balanced. And it's just a whole bunch of things with him. And I started to see it. I would copy it and it kind of incorporated it in with my my caricatures, but it's not his style, of course. So it studying a pro or a master helps your work, you know, improve.
SPEAKER_00:Yeah, what'd they call him? The Lion King.
SPEAKER_03:Yeah, the Lion King.
SPEAKER_00:Yeah. How has your style changed over the years? Have you noticed a change? Um, how did you when you started out? What was it like and what's it like now?
SPEAKER_03:Well, I remember years ago I started out in uh Caesars Resorts up in the Poconos. Every Friday I would draw the honeymooners, and uh my style was so portray back then, and my line work was so thin, the line weight wasn't wasn't balanced, it was like you know, thick and thin everywhere. And I would do straight-on faces most of the time, and then I start to learn three-quarters when you do draw three-quarter where the nose goes to the side a little, you start to bring out personality more and straight on because you can't really show that nose breaking the line, right? Or or maybe not breaking the line, you know, it's a little nose, you know. So at that and also the um the different types of uh ethnicity, like meaning uh an African American, I used to draw uh them and made them look white, and I wondered why. So I had to study the difference of anatomy in Asian and um Afric African American and Irish people, you know. So yeah.
SPEAKER_00:So what would you say your style is like now? Has it how does it evolve?
SPEAKER_03:I get I get a lot of Hannah Barbera style.
SPEAKER_02:Oh, yeah.
SPEAKER_03:I get that. Like, oh, it looks like the Jetsons, you know, or something like that, you know. So it is more like a cartoony style. So I've gotten that. Um uh a couple of times when I would do black and white years ago, they thought Hirsch fell because I started to try to do the flow lines and things like that. But then I broke out of that and wanted my own style. Um I didn't want to copy completely, you know. Right.
SPEAKER_02:Right.
SPEAKER_03:So I I don't know if anybody really um emphasizes anything else about, but it's fun. My work is just fun and cute and graphic, more graphic than um caricatures, I guess, you know, like a graphic style.
SPEAKER_00:Who's your favorite caricature artist besides yourself?
SPEAKER_03:Uh well, let's see. My favorite. Well, I studied under Steven Silver, who's very cartoony and worked for um, I thought I think he worked for Warner Brothers, things like that. Um, I liked his work. Um, I like um, of course, Al Hirschfeld, I already mentioned. Um and today, who's uh people who are living the Mad Magazine? If anybody ever read Mad Magazine, there was some really good artists in there. Tom Richman is uh the top artist uh in that category. I mean, like he's still running around um the states and country doing uh seminars for his caricature classes. So so he's a good mentor, I should say.
SPEAKER_00:Yeah, and you can tell his when you see his work, it's like so you you know who did it.
SPEAKER_03:Right, exactly. And he he drew me in the Mad magazine once, so it was see me in one of the the April issue of 2004, I think it was. That's cool, yeah. Yeah.
SPEAKER_00:Um I uh there's uh who is that? Who's the Spanish illustrator for Mad magazine?
SPEAKER_03:Oh Herman Hermanja, uh is it Hermania? Um something like that, yeah, yeah. Yeah, sorry, I I should know this and type it in because I haven't uh read his name in a long time. The Mad magazine is uh I think it comes out once every six months now.
SPEAKER_00:So it's oh yeah, it used to be once a month.
SPEAKER_03:Yeah, yeah, and I had to change it. They closed down the New York side, and I think it still has the LA side.
SPEAKER_00:Uh do they still have the trifold in the back?
SPEAKER_03:I'm sure they do. The uh spy versus spy, right?
SPEAKER_00:Spy versus spy, yeah. Yeah, it's a great magazine. So where are you going to now? Where's where where next? Where are you heading?
SPEAKER_03:Well, I have a little bit of break through um the the the holidays here through Thanksgiving, but um I think my next one is DC, um near DC on the 4th uh of December. But no big conferences for December. Yeah, the next big one will be uh Vegas uh for Tapalti in in January.
SPEAKER_00:Yeah, everybody's budgets are kind of drying up by the end of the year.
SPEAKER_03:Yeah, are they?
SPEAKER_00:And then they and they get new budgets in January. Yeah, there you go. Yeah, right. But uh well, it's great to catch up with you know, uh Angie. Uh she uh did the I uh the caricature for the this show, the Scott Townsend show. Uh she's also been doing our Christmas cards, and uh yeah, it's it's a it's always a hit. I really love it. Every year we make it just a little bit different. Yeah, just add a present here or there, you know. Very minimalist, but still it's it's a lot of fun.
SPEAKER_03:And so if you want to I have to draw, I have to um add that's frosting now, you know. More frosting this time. You could be Santa Claus.
SPEAKER_00:It's funny. The first thing you said when I popped on the screen here was you notice the hair, so you're very observant. Yeah, right, right.
SPEAKER_03:And I think your glasses might be different, are they?
SPEAKER_00:Yeah, these were.
SPEAKER_03:We didn't draw glasses on your logo.
SPEAKER_00:No, I don't think so, no. Uh did we?
SPEAKER_03:It's behind you. I see it on the wall. Your your caricature.
SPEAKER_00:Oh, yeah, no, that no, it doesn't have uh no, nobody I can't remember.
SPEAKER_03:Did we add glasses later or no?
SPEAKER_00:There's no glasses, uh no glasses uh for the show now on the Christmas card. I think we did. So anyway, I should have that around here somewhere. Okay, different ones, but anyway. Yeah, that's great. And then uh every year, uh the show's been going on for five years now, and so each year Angie would add a finger. It's a it's a it's uh it's a kind of an inside joke, it's a secret. Nobody knows it. But if you see my hand with one finger up it's the first show, first year the first year, yeah. And so now I got all five.
SPEAKER_03:Now you're gonna need another hand. No pun intended, right?
SPEAKER_00:I uh I uh give you a hand. Yeah, maybe we'll just leave it at at at the five, who knows? But anyway. Well, Angie, it was great to have you stop by. Where are you coming to us from, by the way? My wife was like, Where's Pennsylvania?
SPEAKER_03:Lancaster, Pennsylvania. So just think of the cow fields, the cow. I'm yeah, woo.
SPEAKER_00:Well, good luck on your stuff. Go ahead.
SPEAKER_03:Yeah, and if anybody wants to um reach out to me, of course, uh, angie jordan.com is easy enough. Um, or my Instagram, Angie Jordan7. Um, Facebook, you'll be able to find me. Just use my name, Google me, right?
SPEAKER_00:Yeah, well, I'll put your links in the show notes below too, so that it's it'll be easy to find. But yeah, highly recommend following Angie uh through all the social media. Uh she she's always posting stuff that places she's been and the caricatures she's done, and the people having fun with it. And yeah, highly, highly recommend uh so and anybody out there. In corporate America, if you want a good if you want someone who can really bring people to your booth or to your event, uh Angie knows how to do that. I've seen it firsthand. It works and the people love it. So yeah.
SPEAKER_03:Thank you. All right.
SPEAKER_00:For Angie Jordan, this is Scott Townsend. Thanks for watching and listening to the Scott Townsend Show. Have a great day. Everything's gonna be alright, and we'll talk to you later.
SPEAKER_01:Okay, ciao. The Scott Townsend Show is a D So Man production. For more episodes, visit the Scott Townsend Show YouTube channel, listen on Apple Podcasts, or wherever you listen to your favorite shows.
