How to Write a Joke

This is 99% Invisible. I'm Roman Mars. If you listened to our show last year, you may have heard the voice of Elliot Kaelin, who was my co-host for a series we did on the book The Power Broker. And as far as I'm concerned, Elliot was the perfect co-host. He's smart, knowledgeable, easy to talk to, and he's also very, very funny. Because when he's not moonlighting at 99PI, Elliot is a professional comedy writer. And over the years, he's written comedy in just about every medium there is. He worked for over a decade at the Daily Show with John Stewart, where he eventually became the show's head writer. He did stand up, he writes comic books, and currently he is the co-host of the original Bat Movie Podcast, The Flop House, and the showrunner for the forthcoming Netflix Ghostbusters animated series. We one have Elliot back on the show because he is now written a book of his own, not so much about his career, but about his craft. He says, "When you write jokes for a living, it takes a lot more than just having a good sense of humor. Instead, you have to have a system." The book is called "Joke Farming, How to Write Comedy and Other Nonsense." And he's here to talk about it with us. Elliot Kaelin, it is so nice to have you back. Thank you Roman, it's great to be back. Thank you so much for having me on to promote a book that I make make some money off of. Ever we did so much to put some money in Robert Carrows' pockets. I appreciate my getting a shot at it. That's right. That's right. So let's get down to the basics at very, very beginning. We know what on Earth made you think that you could write jokes for a living? The great thing about writing jokes for a living is that, unless that you need someone to tell you you can do it, no one can tell you not to do it. It helped that I grew up also watching television in the early 1990s when there was still a lot of stand-up comedy on television in particular. Like you and I, I'm a little older than you, but there was this phase of cable television where all of a sudden you saw somebody standing in front of a brick wall, you know, as part of television, you know. And now we live in a world where it feels like there's more comedy than not comedy. So now it seems quaint, but it felt like there was so much comedy around that this was something you could do. And so I very foolishly somehow managed to achieve the lucky breaks to succeed at doing it, which baffles me and my family to this very day. What I'm curious about is like you got into this because the adults in your life told you you're a naturally funny person, you're a person that just makes people laugh. But that is not enough if you need to produce the daily show. You can't just be naturally funny. It is a job and you cultivated this thing called joke farming as a way to produce all the jokes that you have to do for something like the daily show. Do you talk about joke farming and how you sort of developed it as a discipline? I feel like the difference between being a funny person and being a comedy professional is the ability to be funny, not just spontaneously, not just for whoever you're talking to, but to be funny on demand in a professional manner when it needs to be done. You can't wait for inspiration to strike. It has to be a reliable thing that you can go to when you need it and you can command it to a certain extent rather than letting it command you. And so when I was working at the daily show, I worked with a lot of writers and I was like this too, where at first it was writing by gut. You're writing the thing that you think is funny in the moment and you spend a lot of time staring into space when something isn't coming to you. But when you're in an office and they're like, you know, it's nine o'clock and your script is 10.30. You can't do that. And so I knew I had to write a lot of jokes really fast and I should define a joke is anything that is created in order to make someone laugh. That to me is a joke. And if I'm not feeling funny that day, it doesn't matter. Like the show still needs it and the show needs a lot of jokes and it needs me to write with them in if I'm lucky two hours, you know, often less than that. And so I started talking to myself about what is the unconscious process that my mind goes through when I am coming up with a joke off the top of my head. I need to verbalize it. I need to be able to articulate to myself so that I can then replicate it as a real deliberate process that I can force myself to go through. And did you go through this exercise of figuring this out verbalizing it at the time or is this something that you did writing the book or is this, you know, like, did you? Oh no, this is something I did at the time. This is I was I was said to myself, I need to free myself from being changed to inspiration basically, which is something I can't control. And so I want to have a process where you can take any subject and you can go through the steps of that process and then come out with a joke on the other end. And one of the things that I want to get across in the book is that you don't have to use my process, but it's good to have a process. And your process should mimic your way of thinking. It should fit your needs, your voice, how you most comfortably write, but whatever that process is, it should be something that you know the steps of so that at those times when you don't have inspiration, but you need to produce a joke, you can do it. Okay. So let's talk about some of that processing and how the daily show process morphed into your own process that you described. I mean, for copy, right and patent purposes, this is my own original process, you know, I'm sure there's, I'm sure there's influences, but let's not give them too much credit. No, I think the thing I should say also about the working the daily show, I don't want it to sound like I would like, I'm a genius who came up with all this stuff, you know, this was very much me being taught and led by other people I was very lucky to be working with. So your day at the daily show starts, there's lots of news. Some of it is hard news to figure out how to make comedy about some of it. Maybe it's super easy to make comedy about some of it's very easy. There was one time there was a stadium that got built somewhere and from above, it looked like a vagina. It was a very easy one to write jokes. Yeah. And so could you take us through the joke farming process with a joke from the daily show? Sure. So the first thing I would have to do is consider who is telling this joke? Who is the joke teller? Whose voice is it? Which in the case of the daily show and I was there would have been John Stewart. He's the host of the show. He's going to say all the jokes. Then I would try to say to myself, what is the point of this joke? And by point, I mean, what is the message I'm trying to get across in this joke? What's the meaning of it? Not necessarily the funny thing about it. In fact, often it's the least funny part of the joke. And so an example that I was always very proud of myself too much, so much people would say is a joke that I wrote for the daily show in 2015. There had been a terrorist attack in France and the United States sent the then Secretary of State John Kerry on a goodwill visit. Secretary of State John Kerry is on a charm offensive this morning in Paris. And the thing about John Kerry is at the time he was famous for being very boring and stiff, just slow talking like a statue of a man. May he's more statue than man. I would like to say directly to the people of Paris and of all of France that each and every American stands with you today, both to the cause of confronting extremism and in the cause, which the extremist fear so much. And the first point that jumps into your head is this is the guy you're sending on a goodwill visit. This guy who is very boring and very unpersonable. But that seemed very obvious. There had to be something less obvious than John Kerry is boring, which at this point of the daily show I think we had told roughly 700,000 million jokes about John Kerry being right. So in looking through the material that we had been given by the researchers and segment producers for this piece, I found this Wolf Blitzer clip where he's reminding us that John Kerry is this enormous franca file. He loves France. John Kerry speaks French loves France studied in France. So the point I decide to go with for this joke is the world's stiffest, least kind of cool man loves everything about the world's sexiest country. Right. Right. But that's a point. It's not a, if I say it like that, it's not funny. It's not a joke. That's just. That's the fact. And so I have to develop a premise to go around it. And a premise is essentially what is the little story that you're going to tell this joke through that gets close to the point, but not so close that you're just saying it so that the audience can make a little leap in their minds and they can get it. Like you're setting up a scenario so they will arrive to the point without you telling them the point of the. Exactly. And one way I like to think about premises is kind of like what if scenarios. And so I said to myself, what if John Terry loves French things so much that as long as the word French is in there, he loves it. French fries, French kissing, French, French horns. And it bakes in the second point that is unrelated to the story that I was covering, but it's kind of a funny point still to me, which is, there's all this stuff that's not French, but we call it French, right, which is really fun. Okay. So I've got the premise. John Terry loves everything with French in the name. Now I need structure and structure is literally the mechanical, mechanical, and the construction of the joke. How you release each piece of information one step after another in order. So you walk the audience right up to the very edge of the point where they can then make the leap on their own and they land in the joke. So I'm writing this John Kerry joke. I start riffing on Wolflister's cadence. John Kerry speaks French, loves France, studied in France. I wanted to continue that cadence in a kind of a list, but where John makes a question answer thing. Instead of saying, he loves French fries. He loves French bulldogs. Instead, it's favorite type of fries and the audience fills in French and he says French. Favorite type of bulldog. Audience fills in French. French. And when you're structuring a joke, you want to do what's called heightening. You want to escalate it from the kind of least funny one, the least exaggerated one to the most exaggerated one. And then you move on to more dramatic examples or sillier examples. Favorite kind of mate, French. And so I've now established the pattern French, French, French. It could go on forever. French things, but then at the end, I want to subvert that pattern. I wanted to disrupt it. Right. And so I was like, what if there's something where the answer could be French, but then it isn't French. Got it. Okay. Okay. And so there's a kind of mustard called French is mustard. And John Kerry at the time famously was married to one of the heirs of the Heinz condiment fortune. So I could say, favorite mustard. And the audience expects the answer to be French. And then John's going to say, Heinz. Come on. He's not going to jeopardize his marriage over mustard. And so you've taken a joke that specifically about John Kerry, you've made it about, there are a lot of things called French. And then you've taken it back around to being a joke that only works for John Kerry because only John Kerry is married to the Heinz. Okay. Yes. And I think the process of working on that took probably less time than it took to describe it. You know, because I was like, here are the steps that I'm going through. And I could design this joke so much faster than I would have otherwise if I was just sitting here trying to think of something to come out of the blue. So but outside of the daily show, I know your book has a lot of examples from, you know, from the world of comedy at large. What are other good examples of somebody using structure to support expectation? So most people are familiar, I think, with the kind of structure that you would call set up punchline. And in the one of the examples I used in the book is a joke by Rita Rudner, who I think is one of the greatest stand-ups of all time. Totally. I grew up with her. She was one of the stand-outs of the audience. She's amazing. Yeah. And one of her first jokes, she says, it's going to be a long time for me for children. I'm very single. I was going with someone for a few years, but we broke up. It was fun and aw, fun of those things. He wanted to get married. I didn't want him to. But that structure of, here's a piece of information. And now I'm going to subvert it slightly with the punchline. And I'm not going to say, I broke with my boyfriend. He wanted to get married, but he married his other girlfriend. That's not a funny way to say it. But you're surprising the audience by providing an answer that is ideally logical, but not in the way that the audience originally thought it was going to be. I think it's an amazing joke because the sentence that subvert expectations I didn't want him to, all of the meaning of the joke relies on the word him. Yes. And I would say it is a brilliant joke to me because so much it is packed in that word. And the fewer number of words that you can use to deliver a joke, the fewer number of details you can provide, usually the better. You don't want to confuse the audience. And with the clearest, most precise word that you can use. And so there might be that moment where the audience takes a short second to understand it and to complete it for themselves. But that's the, that's the moment where the joke lives, that beautiful moment there. In the book, you say that in your joke rating process, there's other elements to a joke that you'd like to consider a beyond the point, the premise and the structure. So after you figured out that core logic, what comes next? So then we get into this into what I would call the fiddling with the joke where you work on the tone of it, kind of like what emotional implications you're trying to get into it. Are you speaking with sincerity or insincereity? What level of irony are you bringing to this? What level of aggression towards the audience or towards the subject of the joke? Are you bringing? And it's kind of like when you're speaking at a wedding where you are trying to balance the sincerity of your feelings towards the couple that are getting married with the insincereity of the kind of ribbing that you're doing of them. So give me an example of tone and tone management when you're doing a joke. So Don Rickles, for instance, who Don Rickles for the younger members of the listenership, if they don't know, Don Rickles was the master of insult comedy that was just so aggressively over the time I saw that you could not take it seriously as real actual hostility. Am I right? His wife and your wife have the same same name Frank's wife and your wife. What do you with detective? Yeah, I'm a detective. That's That's right. I mean, you come up with these remarks. They have the same name for that. Now, uh, uh, Densel was-- [LAUGHTER] [APPLAUSE] There's medication for that, Dave. Whereas sometimes the more deadpan you are, like with a comedian like Stephen Wright, who is, I think, a master. But his stuff is so deadpan that you're like, well, obviously, he didn't really do these things. I call the wrong number today. I said, hello is Joey there, and a woman answered, she said, yes, he is. [LAUGHTER] I said, can I speak to him, please? She said, no, he can't talk right now. He's only two months old. [LAUGHTER] He said, all right, I'll wait. I mean, who is telling the joke is-- it's maybe not as important as the joke itself, but it's like up there. It's-- who is telling the joke is the first piece of information that the audience gets about the joke? Who is this person? What do I assume they're prospective that they're bringing to it is? And in the book I talk about, kind of like, stand up persona and how it can help become the context for the tone of a joke. And an example of this that I use in the book is Charlie Hill, who is another great comic, who is a member of the United Nation. No, a lot of you white people never seen an Indian do stand up comedy before. Like, for so long, you probably thought that Indians never had a sense of humor. We never thought you were too funny either. [LAUGHTER] It was on a talk show in the '70s. And they asked him if he ever played Cowboy and Indians, which is-- I wish I hope was a setup that he provided for them, and not an actual question that they were asking. And he said, no, we never played Cowboys and Indians, but we did play Nazis and Jews. The rules are the same. And that's a harsh-- I love that joke. That's a hard joke. But it's a-- coming from someone who is bringing the perspective of a Native American and a Indigenous person, it means a certain thing. It is not a joke that means to make a joke about the ideas of Nazis killing Jews. It is instead about reframing this childhood game that makes light of genocide in the light of another genocide that the audience recognizes. But in a funny way, as a funny joke. And the fact that it's coming from Charlie Hill means we understand what he's getting at. And this leads us to the audience, which is like the completion of the joke, which is essentially like the last part and the most important part. It's the most important-- unfortunately, it's the most important part. And nobody-- you can't tell a joke on your own. The audience provides the most important part of the joke, which is the person laughing at the joke. And there's something very depressingly humbling about the idea that you don't get to decide, ultimately, if your work is funny or not. Like the audience gets to decide. And if they're not laughing, then you fail them. But they also-- the audience wants to laugh. And that was such a big thing for me when I was performing stand-up, was remembering the audience is not there to get mad at me. They're not challenging me. They might be a little bit. But they want the joke writer or the performer to succeed, because it's more fun for them. And you want to succeed by maybe challenging what they're going to laugh at a little bit, but not challenging it so much that you're deliberately bombing. There's some comedians who love to bomb. It's very fun if you're a comedian to watch another comedian bomb, but only because then you become the audience. The audience becomes the punchline to the joke, and you become the audience of watching the joke of an audience not getting a joke. And that's why when I was young, I kind of was very frustrated with Andy Kaufman's comedy, because it was like, Andy Kaufman is both the joke teller and the audience. Like, he, it is all about his reaction or his enjoyment of the audience's confusion. I don't understand one thing, no seriously. Why everyone is going boo on like the joke, and when I tell some of the jokes, and then when I don't want you to laugh, you're laughing. Like right now, you don't understand. Now I kind of like it. Now I think it's going to funny, because it makes the audience such an integral part of that material. I had all this stuff I was going to do for you, but I don't think I should. So I just want to say thank you, and I'm just trying to do-- you don't have to say that it's really okay. I'm just trying to do my best to have some fun, and if you don't like it, that's it. OK, thank you very much and good night. I mean, one of the reasons why Andy Kaufman ends up working is you could see this sort of anti-comedy stuff where it seems like it's just for his own benefit. But in a totally nother act, you could see just how funny he is and bringing the people in when he wants to. The first audience for all of Andy Kaufman's bits, they are the first wave at D-Day that get mowed down and never have a chance, so that the next wave of audience members can understand it and laugh at the joke. But even then, it's a matter of delivering information to the audience. And the audience will give you thoughts that are sometimes wrong. If the audience says, I didn't like that you talked about this thing, then that's not a good note. But if the note is, I didn't think that was funny the way you talked about it, then that's a good note, because then you're not communicating. The absurdity you're seeing properly to the audience. Could you give an example of audience feedback that was valuable to you? The-- some of the most audience feedback I got was, when I was working on the Netflix seasons of Mystery Science Theatre 3000. And Mystery Science Theatre was the show I wanted to work on since I was a teenager. I felt really-- it's like so grateful that I got to work on it. And when we were working on that first season, I was like, this is my philosophy. Max jokes. That's what I used to call the resume. Maximum jokes. Let's see how many jokes we could fit in there. And we put in just wall-to-wall jokes. It's like how the wire taught me how crime works. Now I'm good at crime. I can't identify you by your chest there. Oh, I was the one shooting you. Oh. Now that guns on the other foot, you just got narcoed. And the feedback we got from the audience was, there's too many jokes in this show. That I can't because I don't have time to process each joke before the next one comes. I don't have time to really sit in that joke and laugh at it. And then I'm missing the next one. And that was a good note because there's something important about the time after a joke and the time before the next joke and the timing of that. And so for the second season of that show, if it felt like there were too many jokes too close together, I'd weed them out and Joel Hodgson, the creator of that show, he started calling me the joke killer. I'd be like, "We should take these out." And he's like, "Oh, the joke killer is at it again." But it was a matter of kind of thinning the herd so that the strongest jokes have their chance to get their best in moment in the sun. [MUSIC PLAYING] When we come back, we talk to Elliot about what his fellow comedy writers think of his system and how comedians can use comedy for good and evil. Stay with us. [MUSIC PLAYING] We are back with my sometimes co-host and always brilliant comedy writer, Elliot Kaelin. So Elliot, earlier, you kind of laid out the elements of what you called joke farming. And there's a few of them. There's the identity, the idea, the premise, the structure, the tone, the voice, the wording, the audience. Like, this is a process. It is developed. So I'm curious. Were your fellow writers on the daily show aware that you were going through all these steps in your head? Like, were they aware that you were joke farming? No, not really. I mean, by that time, I was the head writer on the show. And some of the writers I would talk to about, like, let's try to think systematically about the way we're doing things so you can increase your hit rate. But often, they were not that interested in it. I mean, more because when you're a comedy writer, I think it is hard sometimes to think of what you're doing as engineering in that way, as something that you can do that way. And you kind of don't want to think about it that way sometimes because I think there's a fear that if you question where the inspiration is coming from, if you try to control it, that you might lose it. That you might go-- it might go away. It's a miracle that you don't control. And I feel like every comedy person has this fear in the back of their head that one day they'll wake up and they won't know how to be funny anymore. And there's an old saying from, I think, E.B. White about explaining how a joke works. It's like dissecting a frog. Like, it's not good for the frog. I don't agree with that. But I think a lot of people have internalized that idea. But also, at the same time, there are a number of comedy professionals I met who are-- they're not so interested in figuring out their own process, but they are very fascinated by how other people do their process. And the thing you always hear about Jerry Seinfeld-- or you used to hear about Jerry Seinfeld's-- he actually sits down and writes. Like, he sits down every day for a couple hours and just writes and works. He doesn't carry around a notebook and just wait for something to hit him and then work it out on stage. Like, he writes it out. And so I think there is an interest on the part of professionals in other people's way of doing that craft. It's funny to me that when people reveal that Jerry Seinfeld actually writes that Joan Rivers has a card catalog full of 10,000 jokes or something like that, that it's surprising to people. Because they just think of them as funny people when the best at this definitely know their craft. And even if they don't write it out in steps like you do in terms of joke farming, they're basically joke farming. Yes, or at the very least, joke foraging, where they are. They're keeping their eye open to the world around them for opportunities for things to tell jokes about. I think there's an attempt to work very hard at something and then make it look as if no work has been put into. And that's the real magic of it. The illusion that someone is up on stage and they're just riffin, they're just speaking their truth or whatever. And it's just coming out so funny. But I think that illusion is part of the craft of it. And I know that when I read prose or when I watch standups, even I as an audience member, I'm like, "Oh God, I wish I was as good as them because they're just talking and it's funny." Like they must have put no work into that at all. And then I have to remember like, no, they obviously put work into it. Well, I want to talk about one thing you mentioned in the book, which is this ability to use these techniques of a joke telling four evil purposes. I wouldn't advise it. I don't recommend people use it for evil. Yeah, but how do they use for evil purposes? Well, I mean joke writing, joke telling, it's a tool. And so I think there are bad people who use comedy to get bad effects. And I think the misunderstanding is if it's funny, it must be right. It must be getting at something that I believe, which I think is not true. And comedians for a long time, they like to puff themselves up about like, well, really comedy is about speaking truth to power. You always punch up. You never punch down. It's not funny to punch down. And it's like, have you met a bully? Like a lot of people likes to punch down. And they find it very funny. And you can't say, well, they don't count 'cause they're not funny because somebody finds them funny, even if you don't. Like why did Donald Trump become such a cuss? I can't say it partly because a lot of people found him very funny. And he had one joke during his campaign that I thought was very funny. That was just straightforward standup comedy where he was in, I think Cleveland. And he's like, he's like, I'm in Cleveland. I need your vote. Wouldn't be in Cleveland if I didn't need your vote. You think I'd be in Cleveland if I didn't need your vote? No, I wouldn't. And like that's just standard standup, just roasting the town there in. And I was like, that's a funny joke. And it's being used for evil. But like any communication tool or any work of art can embody terrible things and still be an example of craft. This reminds me of something that just the power of the joke as a structure and how it elicits a response. This reminds me of one time I was doing this. Is this a real story or a joke? This is a real story. I think it was. One time I was on the way to an interview and the craziest thing I've ever done. But I was doing an interview and it was about these seed banks that store all of the seeds that are in the world so that if something catastrophic happens, they have all the seeds in this safe place so that it can replace the plant life that's been destroyed. And it was talking about the one in Svalbard, which is this remote, like Arctic Island. And it was so cherished and protected and it's there underground in a vault. And then I asked, well, there's another one. Like where was the other one? And the person said, oh, Aleppo. And I laughed because Aleppo was undergoing this intense civil war where a bunch of people were dying. And it's just the structure of a joke of just like we're gonna describe the safest place that the seeds are safe. And then the other one is in Aleppo. And I laughed. - They're like, we have it. We have it. It's in the most extreme maximum security. Where's the other one? Oh, a toddler keeps it in his pants. - Oh, that's exactly it. Okay, so it was a genuine reaction. We put it out on the air and Assyrian wrote me and said, it really broke my heart that you laughed at that. And part of me was like, I get it. I get what you're saying. But I couldn't help it. Like it was a joke set up almost. And it's sort of the nature of the structure of a joke is so powerful that I was definitely not making fun of Aleppo or thinking about their suffering. I was definitely thinking of it as like putting it in the pants of a toddler in the sense of that. - Well, you were thinking of it in terms of the pattern that had been set up. They had set up the pattern of these seeds are the most precious thing. And we have to keep them in the safest possible place. And then the subversion of that pattern, which is Aleppo. And you're right that you were laughing at the structure of that joke. You were not laughing at the tragedy of what was going on at the time. But at the same time, you can't fault the emotional reaction of that audience member. If they have an individual reaction to the content of the joke, what the joke is about, how it's said, you can't fault that because the audience is ultimately the decider for themselves of what is funny. They have a sense of humor. It's not a science of humor, it's a sense. And it's individual for everyone. - Elliot, I gotta say, I love this book. I loved learning how your mind works a little bit more. And I'm curious, what do you want people to get out of it who are not going to be paid joke writers ever in their life? - My hope is that first that you enjoy it. First that you laugh, it's a funny book. - It is. - And first that you laugh at and enjoy it. - That's a funny thing, like, because the thing is that people should recognize is when you're dissecting jokes and telling people how to write jokes. As examples, you use jokes. And so, therefore, it has tons of jokes and you have a wide-reaching survey of comedy if the last few decades. - I was trying very hard to get a wide variety of people, comedy types, comedy mediums, but even then it's still just scratching the surface because there's so much, comedy is so enormous. The comedy you see on TikTok is very much the same as comedy you see in a standup, comedy you see in a funny movie, comedy you read. I use an example from the book, Tristan Shandy, by Lauren Stern, which is a hilarious book. But it's hundreds of years old. It's all in the same continuum. They're all part of the same craft and the same art. And my hope is that you will then see a comedian or a TV show and while you're watching it, you can buy into that illusion of, this is just happening in front of me. And it's really funny. These people are geniuses, but that afterwards, you can appreciate a lot of work went into that, a lot of craft went into that. And now I have a greater appreciation for the people who did it because ultimately we're people. We live in a world of people. Everything's done for all the jokes are for people. Animals don't laugh at jokes particularly. Maybe it's the smarter gorillas, but anything you're saying is in order to connect from one person to another person. And so to be able to for a moment, share a thought or a feeling with another human being and to have that moment of risk, where you're not sure if they're gonna connect with you. And then they don't. And you can be like, oh, that didn't work. Or they do and you go, this is amazing. Like that's the whole reason to create art. And it's certainly the reason that I create, comedy. Hell yeah this has been fantastic thanks for coming on the show. Thank you Roman I really appreciate it thanks for having me. 99% invisible was produced this week by Joe Rosenberg and edited by Delaney Hall mixed by Martín Gonzales music by Swan Riel. Hell yeah Kaelin's book is called joke farming how to write comedy and other nonsense it is fantastic is laugh out loud funny you will learn a lot from it even if you're not a comedy writer. We'll link on our website and you can find it wherever books are sold. Kathy too is our executive producer Kurt Colsted is the digital director the resident includes Chris Bruebe Jason Dillion Emmett Fitzgerald Christopher Johnson Vivian Leia Losh-Madon Kelly Prime Jacob Medina Gleason Talon and Rain Stradley and me Roman Mars the 99% invisible logo was created by Stefan Lawrence we are part of the serious exam podcast family now headquartered six blocks north in the Pandora building in beautiful uptown oakland california you can find us on all the usual social media sites as well as our own discord server there's a link to that as well as every past episode of 99p i at 99p i dot org