Rivers Langley - Alabama funny in LA

Comedian, actor, podcaster, professional wrestling commentator, AND tour guide Rivers Langley is from the great state of AL and is now living in the endlessly fascinating city of LA!

Langley took some whispered advice of a dying prospector promising that there was “gold in them thar hills" in California. So in 2012, he saddled up, rode out west to pursue a career in comedy and represent the great state of Alabama.

He hosts “The Goods from the Woods”, one of the longest-running independent comedy podcast in Los Angeles. He was the host of "Unnecessary Evil" at Westside Comedy Theater which was recently named by LA Weekly as one of the Top 10 stand-up shows in Los Angeles. Rivers has also appeared on the Cooking Channel's "Food: Fact or Fiction?", Comedy Central's "How To Be Broke", and Funny or Die's "Test Tube" as a member of the sketch group Hush Money.

He also had a mining company but folded in early 2013.

Introduce yourself.

I’m Rivers Langley. I’m a stand-up comedian, podcaster, professional wrestling commentator, and tour guide based out of Los Angeles, California. I was born and raised in Auburn, Alabama; a true townie. My folks are both retired school teachers. I went to Auburn High School and Auburn University where I studied English Literature and History. While at Auburn, I worked at the campus radio station, WEGL 91.1 FM, all four years I was there. By the time I graduated in the Fall of 2009, I was doing 10-12 hours of airtime per week up at WEGL. I was hosting the daily news show where we’d do comedy bits and cut it up with callers on the air. In addition to the news show and two long music shows on Sunday, I would also just hang out at the radio station during the day and if someone didn’t show up for their show, I’d jump on and fill time between classes. It was, by far, the best thing I did in college. That’s how I learned broadcasting and audio editing. I now host “The Goods from the Woods”, one of the longest-running independent comedy podcast in Los Angeles.

Why did you decide to move out to LA?

Like a lot of people, when I got done with college in 2009, there was the huge question of “Now what?” just kinda hanging over my head. I spent almost a full year in suspended animation at Auburn. I was a substitute teacher, I delivered pizzas, and I made a couple of short films with my friends. All of that was fine and good, and I think a lot of people can probably relate to this, when you find your thing it feels like you’ve got the holy spirit or something. I started doing stand-up in Auburn at the tail-end of 2010 and immediately fell in love with it. The problem was that there wasn’t a whole lot of stage time locally so I’d drive up to the open mics in Birmingham and Atlanta. At some point in mid-2011, I made the decision to try and pursue stand-up full-time and set my sights on the West Coast for the simple reason that it’s warm and there are a lot of opportunities. I worked as a delivery driver at Steak-Out in Auburn and saved up my tips for a year and a half. On July 16, 2012, I put my whole life in a Nissan hatchback and left Auburn. I had a brief stop-over in the San Francisco Bay Area (Had one REALLY crazy night where I had to follow Robin Williams at an open mic at a bar called “Dirty Trix Saloon”!) before moving to L.A. on Labor Day 2012.

Now it’s 9 years later and I’m still having a great time out here. I’m doing stand-up as much as I can, I host a podcast that a lot of folks seem to like, I do ringside commentary for a local professional wrestling promotion, and I’m a private tour guide. The tour guide gig is the best day job I’ve ever had. I get to go on vacation with people for a living! I drive folks around L.A. to all the touristy hot spots, take family pictures, talk about the history of my favorite city in the country, and crack jokes all day long. I honestly couldn’t ask for more!

*This is where I meet Rivers on a tour bus. Photos below.

How has growing up in Alabama influence your comedy? What are some things you learned growing up in AL that has helped you navigate through LA?

Alabama was an excellent place to start doing stand-up for the simple fact that the scene is almost all DIY (do it yourself). There are two clubs in the whole state and, obviously, they aren’t going to have stage time for all the locals so, if you want stage time, you have to learn how to produce shows yourself. With that comes to hazards of doing comedy in non-traditional spaces (bars, coffee shops, restaurants) that weren’t necessarily designed for that but it teaches you how to adjust on the fly and make stuff work. Some of my fondest memories of comedy are doing a bar show in Alabama that shouldn’t have worked but it did somehow.

What is your style of comedy?

This is always the hardest question to answer because it can be a bit limiting. I am absolutely not above doing a one-liner or a physical act-out. There’s not a whole lot I’m gonna steer away from on stage if I think it’ll get a laugh at the moment. That said, I suppose it’s best described as a storytelling style. I’ll have something happen to me that strikes me funny and then it’s my job to build a joke around it. Sometimes I’ll have stories that I wanna tell but I just haven’t found the angle on it so it just sort of sits in my brain as a funny thought or anecdote but not a joke. Then, one day, I find the joke, and then it’s ready to go but that process can sometimes take a while. I have things in my brain from 2017 or whatever that I still haven’t found the right angle on! 

What comedians inspire you?

George Carlin: It’s an obvious one but Class Clown was the first stand-up record I ever heard and, despite being recorded in 1972 almost all of it still holds up really well. My dad is from New York City and is an ex-Catholic school kid so George Carlin is the patron saint of the house that I grew up in.

Debra DiGiovanni: Debra is from Canada originally but is now local to Los Angeles and THANK GOD because that means I get to do shows with her sometimes and see her perform all the time! On stage, Debra is a legitimate force of nature. Her energy level is incredible and her jokes are amazing. She will hit you with one big joke and, while everyone is still laughing at that, she’ll hit you with three quick ones so you’re not even able to breathe while she’s on stage. Debra DiGiovanni is a joke machine gun and she must be seen to be believed. I don’t know if I can say that she “inspires” me because I just sit there watching her and think “Welp, I can’t do what she’s doing. She’s on fire; a whole ‘nother level” but she makes me want to work harder at what I’m doing.

Roy Wood Jr.: Roy’s from Birmingham and is probably Alabama’s most successful comedian and for good reason. I first met Roy in Los Angeles around 2014 when he was nice enough to perform on my show at Westside Comedy Theater in Santa Monica. Roy is one of the nicest, most down-to-earth dudes you’d ever want to meet. Now, I say this next thing not just because I know the guy but because it’s absolutely true: Roy Wood Jr. is legitimately one of the greatest stand-up comedians working today. If you see him doing small, 15-minute sets around L.A. he’s obviously a crusher but the real magic is watching Roy do long-form stuff. I got to see him do an hour at Auburn University in 2019 and it was one of the most incredible stand-up performances I’ve ever seen. I love the way he plays with silences and uses the audience’s discomfort with some of the things he’s saying to achieve a bigger laugh at the end when he hits the punchline like a pressure valve and releases the tension; a comedy Jedi master. I could get really metaphysical about it but I’d just encourage folks to watch or listen to his new special Imperfect Messenger and y’all will see what I mean.

Do you ever come back to Alabama?
I’m usually home at least twice a year (Three times if someone getting married or something) to see my folks and all my friends who still live in Auburn. I’m always home at Christmastime and then again in the Spring. I’ve been the emcee of the Old 280 Boogie Music Festival in Waverly, AL since my college radio days so I’m always home in late April for that event. While I’m home, I like to book as many stand-up gigs as I can. 

I am gonna be back in Huntsville on May 6th at “Awesome Comedy Hour” at Liquor Express and Craft Beers. Like I said, just follow me on Twitter and listen to “The Goods from the Woods” podcast. I’ll post and mention all my dates there.

Talk about the comedy scene in LA and the comedy scene in AL
I cannot stress how unbelievably huge L.A.’s comedy scene is. There are obviously the famous Hollywood clubs (The Comedy Store, The Laugh Factory, and The Improv) but there are also small independent comedy theaters as well as one-nighter comedy shows in every bar, coffee shop, restaurant, art gallery, bookstore, and anywhere else in town that you can fit a mic stand, a light, and a couple of chairs. Kick a loose brick in Los Angeles and a comedy show falls out. That can prove to be overwhelming for a lot of people and they just kinda stick to the neighborhoods and places they know. Personally, I like to switch it up and go everywhere. I do shows in venues all around L.A. and Los Angeles County. Honestly, the weirder and more non-traditional the venue, the better. I’m opening for a REALLY incredible comedian named Katrina Davis who’s doing a one-woman show at a gallery space on April 2nd. Just check my social media (Twitter and Instagram) @RiversLangley to see where I’m gonna be. I also do ringside commentary for a pro wrestling promotion called “Wrestling Pro Wrestling”. It’s an absolutely insane comedy show that features crazy characters and some really top-notch professional wrestling. That show is once a month. They’re on Twitter @WrestlingPW. Check that out to see when those shows are gonna be.

As for the Alabama comedy scene, understand that I’ve been out of the loop for 9 years so I’m not really qualified to speak on it aside from what I’ve observed when I’m home. That said, it’s been incredible to watch the rise of Huntsville as one of America’s best comedy cities. That can be credited to folks like Scott Eason who has run Epic Comedy Hour at Lowe Mill with my ol’ college radio pal Tim Kelly for over a decade now! Ask any comedian who’s done the show what they think and you’re going to get a glowing review. I always say “If you can’t kill it at Epic Comedy Hour, you should quit.” I just got a chance to do Stand-Up Live in Huntsville for the first time back in December and it was a great venue too! Birmingham is the place I claim as my original scene and there’s a lot of cool stuff happening there. One of my best friends in the world is Wes Van Horn. Wes is one of the funniest people I’ve ever been around and he’s been running some great shows out of Avondale Brewing Company. There’s also Alice Whatley and Lauren Lamphere who run a comedy collective in Birmingham called “Laugh Garden”. They do these really cool variety shows with music and comedians that everyone should go check out. So, even though I’m not super plugged into the scene in Alabama as I was before I left, from what I can tell it’s really vibrant and there are still young people doing it, so that’s kinda all you need.

Any tips for aspiring new stand-ups

If you’ve already started doing stand-up, keep going and say “Yes” to absolutely everything you’re comfortable with. The weirdest venues in towns you’ve never heard of can sometimes be the most fun. I did a comedy festival in the Yukon Territory up in Canada (basically the Arctic Circle) and those were some of the most fun shows I’ve ever done. Overall, the only piece of advice that I feel comfortable giving is this: Set your goals high and expectations low, and then just have fun. If you haven’t started doing stand-up yet but you’ve been thinking about it, do it. Do it now. Do not wait. I started doing stand-up when I was 24 years old. My only regret in life is that I didn’t start earlier.

Any topics that a stand-up comedian should avoid should be free to joke about anything?
You can joke about anything but make sure it’s funny. Part of that is making sure the audience finds you credible to speak on the subject. That’s why I always tell people to write about either what they know or what they’d actually like to know. Patton Oswalt once said that all jokes should be a discovery. Either it’s a set-up with a punchline the audience didn’t see coming or it’s the comedian approaching a subject from a place of ignorance and then figuring it out by the end. The joke isn’t done until you figure it out. I think that’s a great way to approach it. It’s like the thing I said about Roy earlier, use your words to build tension but make sure you’re building to SOMETHING. Don’t just say inflammatory stuff for the sake of doing it. In professional wrestling, that’s called “Cheap Heat”. Anyone can do it and if it’s done just for its own sake then why bother? 

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Interview by Cristina Byrne Sternberg

What's Spinning? Transgender Dysphoria Blues by Against Me!

Tell us in a couple of sentences about you/LV Girls Rock

 Salutations! My name is Ty McMaster and I am a trans feminine songwriter, guitarist, bassist, and vocalist from Bucks County, PA. I’ve been a part of Lehigh Valley Girls Rock for about a year now. LVGR is a nonprofit dedicated to empowering girls, women, and trans & nonbinary folks through music and art.

 Name of record/artist

 Being that it was recently the five-year anniversary of the record, I have been revisiting Transgender Dysphoria Blues by Against Me!

 What emotion does this record invoke for you?

 Apprehension, teetering on excitement. I was not out as trans when this album was released. In fact, I didn’t entirely know what the trans experience truly was UNTIL Laura Jane Grace came out in 2013. It was a completely new state of experience, and I felt so proud of her for living her truth. Unbeknownst to me, this album planted a seed in the back of my brain that would slowly flourish over the course of two years. I adore this record, but at the time I simply thought the euphoria I was feeling was a form of empathy towards Grace herself. I couldn’t truly connect to this album because I wasn’t trans, right? Right…? The apprehension and excitement were a dichotomy I couldn’t understand at the time. Now I feel full-fledged euphoria when I blast this in my car.

What is your favorite instrumentation part on this album?

I have two. The opening guitar riffs to tracks 6 and 10 are two of my favorite Against Me! riffs of all time. Though they both convey wildly different emotional dynamics, I get so pumped up whenever I hear them. Also, those tones??? MA’AM????

Does this record bring back any memories for you?

I’ll never forget my initial listen to this album. Hearing the opening lines of the title track clobbered me square in the jaw. I was genuinely breathless for a few moments. I always recall the power I felt, hanging onto every word Laura sang. Once I realized and named my own gender dysphoria, that power grew exponentially, and many of these songs became the anthems that comfort me when I am at my most dysphoric. It also makes me think of the drives I would take with my best friend Charles, replaying this album full blast.

 What are the standout tracks?

My knee-jerk reaction is to say the whole album, because it is truly a masterpiece, start to finish. However, I will concede and state that “Black Me Out” is my absolute favorite song. Not only is it the perfect closer, but it is the song that has always been most empowering to me. One of my favorite pastimes is howling the chorus at the top of my lungs. There is a specific kind of rebuke in cursing out the people who seek to demoralize, oppress, and erase you. I also can confirm it is 200% what many trans people want to shout at bigots on a normal basis. Aside from that song, “Transgender Dysphoria Blues,” “True Trans Soul Rebel,” and “Two Coffins” are definite standouts for me as well.

 Describe the album artwork

Oh my, excellent challenge. The cover is completely white, with what appears to be a graphic black and white image of a breast that is likely being observed and scrutinized. I’ve taken it to be representative of our society's obsession with basic biology, coupled with the insistence that secondary sexual characteristics determine gender/femininity. It stands as an excellent criticism of the trans misogyny and sexism that trans women face every day. There is also a subtle theme of violence against trans women, which is still a widespread issue, especially for trans women of color.

 RAPID WORD ASSOCIATION- what is the FIRST word that comes to your head when this album comes on?

 Power. Power expressed; power reclaimed; power reborn. Nothing but pure power.

 Why should WE listen to this record?

 This album was released during a time where trans voices were still underrepresented in all media. We were just on the precipice of wholly screaming our existence into the cultural conscience. We were just meeting Laverne Cox on Orange Is the New Black and Janet Mock had released her groundbreaking memoir, Redefining Realness. In the mainstream punk world, trans representation was virtually non-existent. Laura Jane Grace introduced many young punks to a life outside of restrictive gender expression. I know that for me, as well as many young queers who grew up loving punk music, her coming out was the spark, the moment of realization that we all needed. She snarled a new way of living and expressing into a genre that was rife with misogyny, offering an aggression that many of us felt, but weren’t sure how to express. This album deserves your time because trans voices deserve to be heard. Transgender Dysphoria Blues is a visceral look into the trans experience, offering emotion, language, and stories that deserve to be treated as valid. There’s a lot to learn from these lyrics. That being said, Laura’s is only one voice, and a white voice at that, so be sure to listen to other trans voices as well, such as Jackie Shane, Vivek Shraya, Shea Diamond, Anjimile, and so many more. There is a rich and vast cornucopia of intersectional trans experiences. Let them color your life with love.

 

INTERVIEW: Meet The Film Makers of "The Last White Man"

One word description of the film - BOLD.

Produced and written by Dean Tatulli and Mark L. Mazzeo, DIBS was able to chat with the two filmmakers about their recent project!

DIBS: Hi Dean and Mark! Thank you for taking the time out of your day to chat with me about your latest film, The Last White Man.

DIBS: I am just going to jump right in. Your one-sentence description of the film is “a dark satire thriller with a focus on race, identity, and social politics in modern-day America”….for the White Man?

Mark: With the election of Donald Trump, Dean and I noticed a resurgence of the old narrative that white men always get screwed over, they're the victims of affirmative action and political correctness etc. I've always felt that was an erroneous point of view, but with the rise of Trumpism and the Alt-Right, I started to see it as a very dangerous attitude as well. Across several conversations about this with Dean, we started using the phrase 'The Last White Man' as a sort of pejorative shorthand for the people pushing that narrative. From there we decided to write the screenplay for TLWM to paint a satirical picture of that guy and push it to what we saw as its natural and inevitable conclusion. As events in the news began to parallel our story, the film became a bit darker than we originally imagined, but we're hoping there's still humor to be found in it as well. No one has seen it, so we're curious to see how that plays at the screening.

Dean: Despite being inspired by the quick rise (and inherent darkness) of Trumpism, the alt-right, Incels, and conspiracy theorists, we decided to leave anecdotal politics out of the film. It's implied by Karl's opinions, actions, and the language that he uses he's aware and influenced by those ideologies. However, we never come out and say it explicitly, allowing the audience to draw their own conclusions about his radicalization.

DIBS: There is so much to this topic even more so now with the 24-hour news cycle, social media, and as you say “The Rise of Trumpism”. Do you think this “Rise of Trumpism” happened because of that “resurgence of the old narrative that white men always get screwed over, they're the victims of affirmative action and political correctness etc” so its like “alright fuck it then, I can’t win” so it has led to this “dangerous attitude” of The Last White Man?

Mark: I think Trump has normalized it (among other things) which has played a large part in the resurgence of that idea. But outside of a few scenes, the film itself doesn’t touch all that much on “capital P Politics”. It’s sort of implicitly there if you can make the connection between racism, sexism, homophobia, etc and the political party that currently supports those things. But it does deal a lot with identity politics, where our main character Karl is struggling in a world he feels left out of. He’s the fabled “forgotten man”. But the film isn’t designed to make the viewer sympathize with Karl, and I don’t think people will. Ultimately, the film is our critique of the “last white man” ethos and like I said we take it to what we see as the inevitable conclusion of that mindset. And it’s not a happy ending. For anyone.

DIBS: It’s funny that you say that because my next question was going to be, Could the viewer sympathize with Karl? Which you have answered. Not a happy ending for Karl then. How about what sort of perspective will the audience gain walking away from this film? I would like to add something to your response to the previous question. So the school bully is known to be a bully the bully (assuming so) is aware that he is a bully (assuming so) and maybe he is a bully for reasons unknown to others but since the bully has been titled this role they are now going to play that role. How could the school bully come back from being “the bully”? If they are known to be a bully is there some sort of redemption? I know that we are getting a little deep here, I promise there will be lighter questions 🙂

Dean: It’s interesting you bring that up, because I sort of wanted to expand on the idea of sympathy for Karl - In the writing phase, we knew we definitely didn’t want the audience to sympathize with or for Karl, he’s clearly the villain. And to Mark’s and Ryan’s credit, I think that is achieved, Karl is abhorrent. But there’s sort of paradox in the script, where if you show something from the villain’s perspective, you’re asking your audience to at least *care* about your character. Even if they’re bad. Karl, at the start of the film, doesn’t know what his place in society is, just that he feels like society left him out of the equation when it progressed. As the story progresses I think we offer him a way out, but he doesn’t take it because he’s too far gone. I think maybe that idea touches on your bully analogy. Karl eventually learns who he is in society by trying to assimilate and realizing he can’t. I don’t think it’s a zero sum game, but our story does not allow the bully to redeem himself.

One last point about that is, I think we were always aware of the risk that showing the film from Karl’s perspective was dangerous. Especially since ‘Karl learning his place in society’ is a negative thing which could carry the connotation that we think he’s the right one.

We’ve talked about intent a lot in our doing this film, and I think our intent is very clear in the final film.

Mark: As for what the audience walks away with, I want people to see this film and have something to say. I want to start conversations about something that people maybe don’t want to talk about. I want people to see this and question if they’re like Karl, if they’re enabling Karl’s in their lives etc. basically I think we want people to take a look in the mirror, both at themselves and society as a whole. And in reference to sympathizing with Karl, Dean makes a good point about asking the viewer to care about Karl. I don’t think it’s that the viewer should sympathize with Karl. I think it’s that they should empathize with him and feel horrible about it.

DIBS: So what’s harder: getting started a film or being able to keep going? How long was this process from having the idea to writing it to filming it to completing it?

MARK: I’d say getting started is harder. Once you get going there’s inertia and you get into routines. But at the beginning you’re starting with nothing and it’s all ahead of you and it seems so insurmountable. Especially doing it the way we did it. Self financed and without any sort of infrastructure behind us.

We started writing in October of 2017 and we’re done writing in April 2018. (We wrote a key scene a couple of months before shooting, but otherwise the script was finished that April)

Preproduction started in November of 18 and we shot for 12 days between February 23 and March 23 of this year including an 8 consecutive day first wave at the end of Feb and early March.

I started editing on March 3 after the first wave of filming and we got to final cut on September 2.

So from the first page to final cut you’re talking a two year process. The idea is something we talked about for a while before that but in terms of actually working on it, two years.

DEAN: Anecdotally the hardest day of the whole thing for me was day 1 - we had a hard start and I remember feeling like there was no way I could do 12 shoot days.

But like mark said, you get into a routine and you get over the jitters of starting something so big and it becomes fun.

DIBS: What were some obstacles you faced making this film?

Dean: We produced the movie completely on our own. There was no one to really help us. And it’s really hard to produce a feature film with just two people handling logistics, scheduling, planning, money, problems as they arise etc.

We were incredibly fortunate to have a very dedicated team helping us actually make the movie. But most days that team only consisted of Mark, myself, a sound person, and a production assistant. With a crew that small and when you’re shooting 5-8 pages a day it becomes all about judicious time management.

DIBS: In your opinion, what sort of stories are important to tell?

Mark: I’ve always liked movies that are more character-driven than plot-driven. I feel like if you can come up with a really good character or characters and use them to drive the story, that’s always the way to go.

And that’s reflected in The Last White Man we started with Karl and built it out from there.

Dean: I also think it’s important for a story to have some sort of social or moral relevance. I understand that entertainment for entertainment’s sake has a place - i’m just less interested in it than I am in making actual statements.

And as Mark said, I believe that stats with characters who feel like real people.

DIBS: Where did you both meet?

Mark: Dean used to bully me in middle school.

Dean: That’s not true

Mark: That's how I remember it.

DIBS: LOL

Dean: We knew each other in middle school, but this is how I remember it. In the beginning of 8th grade Mark asked me if I made movies. And I said yes. He said I should make movies with him and a friend of his, and then we all started to do that together.

Mark: We continued making movies with a couple of friends of ours into the first year of high school and then kind of went our separate ways for the rest of high school and college. When I graduated I realized it was time to get serious about making movies and contacted Dean about working together again. And we've been making projects more or less annually together ever since then. We always try to make sure we learn lessons from our mistakes and get better with each project, and I think we have.

In your opinion, what defines success in filmmaking? Money? How many people saw? Reviews? Awards? All the above or none of the above?

Mark: For us, right now, it’s getting someone to want to invest in us and give us a budget to make the next one. That’s all I want, to get to make the next movie. The older you get the harder it gets to self finance. Exponentially so on feature length projects.

Dean: Agreed. I would say success as an independent filmmaker is simply being able to make films that get you enough exposure to make the next one. Being able to earn a living at it would be fantastic as well of course.There’s a famous quote that says “we don’t make movies to make money, we make movies to make more movies” I just thought that was fitting to this part of the conversation. Maybe a tad ironic because Walt Disney said it. But I do think the sentiment is true

DIBS: So explain to me the process of how it works. So as an Independent filmmaker you make the film and you submit it to festivals so that producers can have eyes on it and hopefully like it and want to invest in that film or want to invest in the filmmakers?

Mark: Yeah, that's the hope. You put it out there and try to get it in front of the right set of eyes.

Dean: Festivals also allow you to share the movie with other filmmakers who may want to network and work with you.


Meet The Filmmakers

Mark L. Mazzeo - Writer/Director

 
Mark is a filmmaker currently based in the South Jersey/Philadelphia area. He has made a variety of award-winning short films, as well as his first feature film, Something Better Comes Along. He is an industry professional with credits on multiple n…

Mark is a filmmaker currently based in the South Jersey/Philadelphia area. He has made a variety of award-winning short films, as well as his first feature film, Something Better Comes Along. He is an industry professional with credits on multiple network television shows.

Dean Tatulli - Writer/Director of Photography

Dean is a filmmaker and director of photography based in Philadelphia, PA. Over the past 7 years, he's shot multiple award-winning short films, co-wrote and co-directed a web series, and produced and shot a feature film. In addition to that, he has …

Dean is a filmmaker and director of photography based in Philadelphia, PA. Over the past 7 years, he's shot multiple award-winning short films, co-wrote and co-directed a web series, and produced and shot a feature film. In addition to that, he has nearly 10 years of professional on-set experience with credits ranging from branded content to documentary films.

 
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