All language subtitles for Dumb.The.Story.Of.Big.Brother.Magazine.2017.1080p.WEBRip.x264.AAC-[YTS.MX]

Downloaded from
YTS.MX

Official YIFY movies site:
YTS.MX

Well, here's something
your children may be reading

that you should
definitely know about.

It's a shocking magazine

that tells you how
to commit suicide,

tells you all
about drug use,

and also explicit
descriptions of sex.

It may seem hard to believe,

but this magazine is
really aimed at kids.

♪

When Big Brother came out,

it was like pushing
the boundaries

of not only the level
of skateboarding,

but it was a true window

into what these
skaters were really like.

It felt so edgy and you
felt cool by reading it.

Like I felt like I
was in on something

that my other friends
who didn't skate

were missing out on.

That shit influenced everything

to this fucking day.

It forever changed
the face of pop culture.

Fuck just skateboarding.

♪

I found a whole group of guys

that I really
liked and respected

and were...

like, high level
functioning pieces of shit.

♪

It really opened
Pandora's Box of like,

"Man, this is
really entertaining

when people take
it to this level."

Every aspect of what we did

was unprofessional
and amateur.

Sparked so many like
talented, creative people,

like Jackass came out of that.

Jackass before Jackass.

(laughs)

♪

♪ Free styler ♪

♪

♪ Rock the microphone ♪

♪ Carry on with
the freestyler ♪

♪

♪ I got to throw on and go on ♪

♪ You know I got to flow on ♪

♪ Selectors on ya,
radio play us ♪

♪ 'Cause we're friendly ♪

♪ You carry protection

or will your heart go on ♪

♪ Like Celine Dion,
Karma Chameleon ♪

♪ Yeah, straight
from the top of my dome ♪

♪ As I rock‐rock,
rock‐rock,

rock the microphone ♪

♪ Yeah, straight
from the top of my dome ♪

♪ As I rock‐rock,
rock‐rock,

rock the microphone ♪♪

♪

(gunshot)

♪

Christian's getting
ready to bring it on.

This is a big matchup,
they need your support.

Let's hear it out there
as they get ready.

Christian Hosoi.

(cheering)

In the late '80s,
skateboarding was huge.

Christian Hosoi!

And pros were like rockstars.

Let's go, let's go.

By the time the '90s hit,

the whole thing just
took a fucking nosedive

and the industry
almost collapsed.

♪

Skateboards were a trend toy.

They were a yo‐yo,
a hula hoop.

And all of the little kids
who had been fueling

the skateboard industry

took their money
to rollerblading

or whatever
the next stupid trend was.

♪

Yeah, '91 was
kind of rough for me.

I was still trying
to make a career

as a pro skater.

I had a huge mortgage payment
that I couldn't afford

and basically I was just
kind of hunkering down

and eating Top Ramen
and Taco Bell.

Well, at the time
Big Brother launched

it was just Thrasher
and Transworld.

♪

Transworld
was considered

more the goody
two‐shoes magazine

and very Southern
California‐centric.

And then Thrasher was
the hardcore or the punk,

you know, the guys that
are in the van drinking

and very NorCal‐centric.

I just remember
Transworld and Thrasher

were pretty boring.

Because you get sick
of the same, you know,

nonsense in every
skateboard magazine.

Action trick,
action trick,

ad, ad,
action trick.

There wasn't anything
in skateboard magazines

that pertained to any
of the rest of your life.

Skateboarding was
struggling as a whole.

And I don't know,
it seemed like

there was a need
for something new.

♪

During this bleak period,

Steve Rocco and his
skateboard company,

World Industries,

kind of rose out of the ashes.

♪

Skateboarding
itself was changing.

And it was going
less from vert

and more to street.

And the big companies
were sort of oblivious of it.

It was just the
beginning of the end

for those big companies

and it was the start for us.

♪

You know, Rocco's
the ultimate provocateur.

The creation of
World Industries

came out of wanting to, like,

spite the skateboard industry,

but in a really funny way.

♪

Steve Rocco's advertising,

his approach to
advertising and marketing

and the way he, you know,
promoted his company

affected the entire industry.

Either you reacted to it

or you kind of
jumped on the bandwagon

and did the same
type of advertising.

And if you didn't,

you were totally
out of the mix,

you know?

I always looked
at World Industries

as this more
cutting‐edge type brand.

The graphics were just
super compelling and unique

and just felt more...

♪

...sorry, edgy.

(laughs)

The thing that Rocco
was smart about

was keeping his fucking
finger on the pulse

of what the kids were into,

what the kids were doing,

how the kids
feel about shit.

And he didn't have
anything to lose.

So, I think that was it.

Everyone else had
too many things

they were beholden to

or no one wanted to
be that irreverent.

♪

By 1992, Steve Rocco
and his companies,

they had totally
taken over the industry.

They were outselling
everybody else.

♪

God, it was like
the Wild West, I guess.

It was pretty much the heyday

of the skater‐owned companies

and everybody was just
doing what they wanted.

It's just an amazing feeling.

No one can tell you no.

So why did you decide
to start the magazine?

Basically because
I was told no.

♪

We wanted to run an ad.

It was one of our skaters

and he was trying to do
this really hard trick

and he kept missing.

And then the next page was him

with, like, a gun to his head,

going to kill himself.

Transworld wouldn't run it

because Larry Balma
had a friend

who had killed himself
in high school,

which is a bummer,
I mean, God.

And I think
that was the problem

with the endemic
mags at the time

before Big Brother is,

you had a couple of guys
in control of 'em,

and they were editing
what we saw and didn't see.

So Steve Rocco was
like, "Fuck you.

I'm going to go make
my own magazine

and I'm going to do
whatever the fuck I want."

When we heard that,
we just thought,

"Oh, that's funny, ha‐ha,

you're not starting anything,"

kind of thing.

But then he did.

In hindsight, obviously
I overreacted a bit,

but I mean...

♪

I suppose it was fun.

I mean, we were
working in that warehouse

with the skate park,

and so there was a
lot of activity there.

And we just set up
a desk and, you know,

our mandate was to put out
a magazine of some sort.

So we just made it up.

I think the whole thing
was just like,

"Okay, we've got a magazine,

we're going to fuckin' say fuck

as many fuckin'
times as we want.

So the whole
first page was just

an excuse to use
the word fuck, so...

♪

I think Rocco thought it's...

Well, he definitely
thought it should‐‐

should be more
pushing outward on ideas,

and we were more, uh,

just futzing around
and shoegazing.

♪

It was a disaster.

(laughs)

It was great, but
it was a disaster.

I remember the
first one being free

because, like,

the quality was so shitty.

And I remember the
sticker on the front, like,

"The people who
made this magazine

didn't know what
they were doing,

so we're giving it away."

I guess the spirit
of the first one

was more just, like,

just the act of
it was rebellious.

But it didn't really
become Big Brother

until Tremaine came on
and did issue number two.

I met Spike Jonze
when he was 12

and I was 15 or 14.

He moved out to California

where he got his
filmmaking career started

at World Industries
making videos.

So I introduced him to Rocco,

but I don't think
even at the time

I fully understood
how perfect

Tremaine's sensibility would be

for Big Brother.

So when I first got hired,
it was a staff of one.

It's just me.

And I don't write.

But I met Marc McKee
and Sean Cliver.

They were artists
for World Industries,

really responsible for a lot

of the fuck you
attitude that World had.

And they were able to
translate that attitude

into the pages of Big Brother.

I never had any
formal writing training

or aspirations,
but it was fun.

It was just fun to do.

And I'd always been a skater.

Yeah!

I have like
kind of an obsession

with grammar and spelling,

so, I mean, I
really like writing,

and so that's something
that I was stoked to do.

♪

And punctuation.

Jeff took up residence
in the magazine office

at the skate park.

And probably within the
first week he was there,

Earl Parker washed up
on the doorstep.

He had a 'zine called
Polyurethane Monthly

that he sent to me.

And it was
actually pretty neat,

just kind of small adventures

that he and his crew would go on

and end up some skateboarding

and some, like, mischief.

And I thought
he had a neat take

on the writing style
and on skateboarding.

Before the internet,
a lot of skaters

would pretty much make
these homemade 'zines

on a Xerox machine.

It was really the best way

to show what's happening

in your local skate scene.

I was a subscriber,

so I sent in money
in an envelope,

like cash in an envelope,

and then I would
get them every month.

And it was well‐written

and it was these
sketchy pictures

and it was very punk rock.

I can see based
on his creativity

why they want him to be
involved in Big Brother,

but I had never
actually met him though,

so I didn't know
how out there he was.

♪

All throughout those
days in the 1990s,

I just lived at the offices.

I would just ride
a bike or walk around

and crash at the
offices and stuff.

Just sleep on your desk?

I would sleep
under my desk, yeah.

What you doing?

Nothin'.

When Earl moved
out to California,

he didn't have a home,
he didn't have any money.

So when Tremaine would come
into work in the morning,

he usually stopped
at a gas station

and he would pick
Earl up some food.

And I bought him,

you know those
big, pink Sno Balls?

Like the grossest
food I could find.

And to wash that down,
I found this blue soda,

it was Windex blue,

it was the only blue
drink at the time.

Every day I would pick
'em up, pink and blue,

and give it to him,
that's his sustenance.

So I was sort of
experimenting on this kid.

Because I could,
like, what the fuck?

In the earliest days
of the magazine,

a lot of times
we'd subsist off food

from gas stations
that we called Ultima.

And the guys would buy me

all this really strange stuff

and make me eat it
and drink it.

And I still live‐‐

I still live that way
to this day.

I shop at a gas
station every day.

All right, so I
had three writers,

but what I really needed
was a full‐time photographer.

And that's when
I met Rick Kosick.

I'd been shooting
for different magazines,

and when the Big Brother guys

came and asked me
to shoot for them,

I was psyched

'cause that was
Rocco's magazine

and I wanted to be a
part of that excitement.

I mean, almost immediately,

like the little 'zine
was just like whatever,

but that second
issue that came out,

like you just
kind of knew like,

"Holy shit, this is a
fuckin' real magazine."

I mean, it was just raw
as shit out of the gate.

(scream‐singing)

I loved Transworld and Thrasher,

but, uh, there was just
something about Big Brother.

Like, I liked the goofiness,

the articles in between.

♪

Big Brother was like,

like we literally don't care

about anything.

Skateboarding
happens to be in here,

but we're going to show you
disgusting, foul, crazy.

We're going to figure out
what can we create

that'll make you cringe
or blow your mind

or your parents'll hate

or you'll get in trouble

for even having this magazine.

There was always
something in every issue

that was like
breaking some boundary,

something that no one
was supposed to do

and they were doing it.

As a young,
rebellious skate kid,

like, I loved that.

They were funny, they
were, like, really funny.

It was a combination of both

intelligent people with
a good sense of humor,

which is a perfect marriage.

And they skate.

I read everything
in those magazines,

every last word.

No other magazine of any kind

had the subversive
sense of humor,

and that was what was, I think,

ultimately what I took
away from it the most.

♪

Also, there was nudity in it.

Rocco really wanted tits
in the magazine too.

He thought it was
really important

that the skaters
want boobs, you know,

they want to be
able to see boobs.

And as a 10 or 11‐year‐old,

is really meaningful
at that time.

'Cause we didn't look at, like,

things with hot girls, really.

Like all we did was skate

and look at skate magazines.

They were covering
hardcore skating

but also guys drinking
and smoking and partying.

And I guess it
was more in tune

with what skating
was back then.

The kids were fuckin'
out in the streets

running fucking amuck.

♪

These guys were
all just delinquents

and nobody ever
showed that part.

They showed,
like, little bits

and pieces of it,

but it was really cool to see

like all the other sides
of, you know, the skaters,

I mean, no matter
how rotten it was.

Big Brother came along
and then it was like

all bets are off.

We'll say and do
whatever the fuck we want.

And it really did fuckin'
scare a lot of people.

♪

Was fuckin' rad, you know?

They didn't give a fuck.

They did fuckin'
articles how to buy crack

on the fuckin' street.

It was a variety pack
of fuckin' madness.

It was sick.

There was no rules.

Like, we were self‐governed.

We should have had more rules.

(laughs)

I didn't know anything
about publishing

when I was making Vice

and I thought, "Well, you
have to follow the rules."

And I had a sort
of eureka moment

when I was looking
at Big Brother

and they had How to
Do Lines and stuff

and How to Party.

And it was Pixy Stix of sugar.

Totally wrong, probably
completely illegal.

You're really
risking getting sued.

Not only was it
fucking hilarious,

but it also showed
the readership

that this isn't
a family magazine

and we get you guys.

(snorts)

Oh, I got some up my nose.

Did you get a rush?

Yeah.

And here I am becoming
the editor of Transworld,

and seeing, you know,
Big Brother

able to cuss and
kind of, you know,

a little more adult humor,

stuff that we couldn't
do at Transworld

because the owners just
wouldn't let us do it.

It did make me,
as a skateboarder,

feel a little bit like

kind of the pussy, I guess?

It had a total, like,
clubhouse atmosphere.

Like you're like, "Oh,
here's the characters."

And they just wrote
about themselves all day.

Like half the shit is just them

talking about themselves,

and then these cool skaters

who happen to be in the area

get like kind of roped into it

here and there.

There was a soul
behind the magazine.

It wasn't just this magazine

that words
magically appeared in

and photos just
happen to be there.

There was a face
behind those words.

That's what made
it interesting.

We had to fill the
pages with something

and we tried to fill it

with skateboarding
related stuff,

but half the time it
was just Rick's antics.

It was just something
we did to amuse ourselves,

and it created content
for the magazine.

And that's how Rick
became a character.

♪

I had more coverage
in the magazine

than a lot of pros
at the time.

(ringing)

Oh, sorry, hold on a second.

But the most devastating thing

that that magazine did

to its competitors
is convince everybody

to do those
fuckin' video grabs.

It was actually kind
of a smart thing

because skateboarding
was evolving very quickly

at this time,
this is the early '90s,

and very technical tricks.

Back then,
still cameras

could only shoot
six frames per second.

And the board was
flipping was so fast

that it couldn't capture
the trick correctly.

So Rocco came up with the idea

that you could pull a
frame grab from a video

and put it in print.

They looked ugly,
but I don't think

the skaters gave
a shit about it,

what it looked like.

They liked seeing
the most current tricks.

It gave it the opportunity

to progress
skateboarding tremendously

from the beautiful
stale thing

that we're all known to expect.

Big Brother, dude.

You know, they don't take
photos for that magazine,

they just film.

What's up, Rocco?

(whistles)

And then Thrasher
and Transworld

thought that they
had to do that too.

"Yeah, we got that!"

And then think about
a fuckin' video grab

on the Thrasher paper.

Like, what, I think
it's a hamster?

And you're just like,
"What the fuck is that?"

Like nobody...

So that was devastating.

That was nice work, you guys.

It's not like it
completely lacked‐‐

I mean, come on,
some of those covers,

that cover‐‐that
Rick Howard cover,

the all red
concept and trick

and photo by Spike Jonze,

that's gold.

Wait, this'll be good too.

A photo of Spike.

♪

Rocco loved gimmicks.

He wanted every issue
of the magazine

to come out different.

The second issue came in
the super large format.

Third issue
had spiral binding.

Fourth issue was square.

Fifth issue was
comic book size,

came with trading cards.

Sixth issue,

which was, you know,

the ultimate in some kids' eyes,

was the cereal box issue.

Everybody was just like,
"This is awesome.

Let's do it and
we'll get the companies

to put prizes in it,"

and it just went
from stuff like that.

It was so cool, but I
couldn't show my parents,

you know what I mean?

'Cause it had wieners
all over it with ants.

There were no rules
and it was going to be new

every issue.

We were never going to
use the same logo.

We were never going to
do the same format.

It was always going to
be something special.

You didn't know what
you were going to get.

And everyone just got
into it, whatever it was,

and we'd move on
once we did it

and do something else.

It was such a
creative opportunity

to do whatever we...

I mean, if you're an artist,

that's heaven.

Once the advertisers saw,

like, the content
of the magazine,

then they kind of would
emulate that in their ads.

♪

There were a lot of
new brands coming up

that wanted to
establish themselves,

and Big Brother
gave them the freedom

to do whatever they wanted.

That was when the ads
became content themselves

in a way.

You know, really,
Big Brother empowered

a generation of brands
to express themselves

through the culture
of skateboarding

versus just the sport
of skateboarding.

There was one
version of that ad

that was done for Big Brother

and there was
a different version

that went in the
other magazines.

That's what made it fun for us

because we could sort
of push those boundaries

a little bit of what
you could normally do.

Because there was no policy,

there was no,
like, written policy.

And, of course,
it was up to us

which ones can go,
which ones couldn't go,

but everything went.

I think everything went.

Even ads with me getting
screwed in the butt went.

Was there anything
we could have sent you

that you would
have said no on?

Not without
looking hypocritical.

I mean...

Lots of the ads got
us more in trouble

than anything
we could write.

Shorty's did an ad

where there was the bearing

inside of the plastic vagina.

And we submitted
that to the printer,

and they were like,
"Fuck this,

we're not printing this."

And so I guess
the solution was

that we had
to show that it was

an artificial vagina.

So there's a little
box within the ad

that shows you what it is.

♪

I don't think that
showed up in Transworld.

♪

(laughs)

I think you didn't
realize how conservative

the skateboard industry was

until Big Brother came out.

It represents
the pure side of skateboarding

that is that
sort of fuck you

and fuck everybody mentality.

Let's see if we can't
cause some problems,

which they eventually did.

Sold as a teen
skateboard magazine,

Big Brother has upset
a number of local parents

because mixed in with
skateboard articles

and stories of graphic sex

is an article that details
how to kill yourself.

The first time we
ever got on the news

was in Ohio somewhere,
and it was basically

the How to Kill
Yourself article.

And we thought
that was awesome.

Along with suggestions
on using guns and pills,

the magazine
suggests hanging

and explains how to use
a cotton cloth or tie

and a door knob.

It also recommends,
"Slit your wrists,"

and explains the best
way to make the cuts.

It was a reaction
to all the how‐to,

How To, you know, Ollie.

How To Do a Kickflip.

How To Kill Yourself

was clearly
the next place to take it.

I mean, that, to me,

was the funniest
thing ever as a kid.

Now do I find that funny?

I don't know.

Like afterwards,
like, when, like,

I remember, you know, like
there was a big fuss over it.

I was like, "Yeah,
why would we do that?

Why would we do an article
on how to kill yourself?"

I don't think a lot
was that thought out.

♪

As the magazine began
finding its voice,

others with a similar
voice would find us.

There were like
Big Brother characters.

They weren't
like the top pros,

but they had the
right personality

and spirit that always
meshed with our magazine.

If I wouldn't have
got fucked up on drugs

and shooting fucking heroin
in my fuckin' wiener,

I fuckin' would have
been a poster child

for Big Brother.

You didn't have to be the
best skater in the world,

you didn't have
to be the coolest

or the best looking
or, like, the most fit

or whatever it was, you know?

It was like, it was
kind of a freak show.

♪

One of our contributing
photographers,

Thomas Campbell,

submitted these
hilarious photos

and a fucked up interview

with an unknown skater
named Chris Pontius.

He would write little
articles here and there.

♪

We let him answer
the letters once

and it was the
funniest thing, so we decided,

"Chris, you need to
answer all the letters,"

'cause he takes
the letter writer

on such a weird adventure.

I always liked
to write and stuff,

but I never thought
that I would, you know,

was going to write
for Big Brother or nothing.

It just seemed like
a separate world to me that‐‐

it just seemed so far away.

It was Pontius who
introduced us to Dave Carnie.

Come on in, I'll show you
how to make a new drink.

Dave Carnie brought
a lot to the magazine.

It's a specialty of mine.

Not only was he a great
writer and photographer...

Been drinking it for years.

But he was a huge personality.

He was an artist and...

(laughs)

He was a rad photographer.

And, yeah, he would use

all these crazy chemicals.

I think they made him
lose his sense of smell.

Pour the excess
in the toilet.

Take a big old swig.

Damn, that's good piss.

I was actually in college
in San Luis Obispo.

And I met Chris Pontius

and his whole crew
of merry pranksters.

There was this
weird group of skaters

that were all making these

really just
fuckin' stupid videos.

And so when we connected

with the Big Brother people,

it was just kind
of a natural fit.

We were all doing the
same stupid shit already.

♪

So, I started with Big Brother

'cause I had
a fucked up story

about a friend of mine,

and I‐‐he used to
sleep over all the time.

It was totally normal,

no hooking up or anything.

And I woke up and one night

he was jerking off
in the bed next to me

and it was awful.

And I was only like 18

at the time and creeped out

and I didn't have
the wherewithal

to be like, "Fuck you,
get out of my bed!"

And so instead, I drew
a picture about it.

And Steve Rocco saw it
hanging up in my office.

And when he got the
story, he was like,

"I think that's
a Big Brother article."

Kendra was like
a little sister to us,

and she also brought a
female voice to the magazine.

I never felt like
I was just a girl.

I didn't even really
feel like I was a girl.

I probably was
just one of the guys

is what I always felt like.

She actually pulled
one of our first pranks

where she went on a blind
date with a pro skater

and secretly recorded it.

That was fuckin' hilarious.

I mean, I think I was
pissed off for a minute,

but then I was just like,
"Whatever, it's hilarious."

It made me feel
brave and exciting,

and I couldn't believe
I pulled it off.

Big Brother used to
be out of the South Bay.

You know, we were in
El Segundo for a while.

♪

And Wee‐Man was
sort of a local legend

and Hermosa Beach skateboarder.

You know, I thought it was rad.

Like, "Wow, there's this
little midget who skates,

you know,
it's awesome."

I met Rick Kosick

on a photoshoot one time.

And Rick was pretty stoked.

So he said, "Hey,
you and I should,

like, start shooting
some more photos this week,

let's get some stuff."

And ever since then,

the Big Brother
snowball happened.

Eventually I hired Wee‐Man.

He was our
subscriptions manager.

We just loved
having him around.

♪

I think the magazine just
kind of attracted, like,

all the misfits and the
people who didn't fit in

in skateboarding.

And it was like,

it brought us all together.

♪

I'd always seen Earl Parker

as just like a resident freak

or a resident weirdo,

but really he's a good writer

and he chose awesome
stuff to write about.

And the way he kind of
navigated through the world

was interesting

and he really brought that

to the stories that he wrote.

♪

He would always have
stories of the night before,

these weird adventures.

Like he would
meet these people

and go and take
pictures of them

and interview them.

♪

He would, like, write
whatever he was thinking

and whatever he was feeling.

And often it was
like really random

but genius connections.

♪

Earl's first big
writing assignment

was to go up and cover

the Back to the City
contest in San Francisco.

This was probably
the biggest contest

in skateboarding
at the time.

He was sent to write
about the contest,

but he was wandering
around San Francisco

and fell in love with this

homeless junkie
punk rock girl.

♪

Hung out with her
the whole weekend,

and that was his story.

My favorite part was

he took her back
to his hotel room

and he ordered
her room service

and then he licked
her track marks.

And then he's like,
"Just kidding."

(laughs)

I don't know, he was just...

He was a great writer.

And I was pumped on it.

I thought this was amazing.

It was well‐written,

it was very much Earl's psyche

and very much fit in

with what we were
starting to do, you know?

Like it was just...

funny.

He was the voice of that
magazine for a long time.

As much as
Tremaine was, like,

the sort of force
of nature behind it,

Earl was on the front lines.

Earl's approach
to skateboarding

was pretty indicative

of how we were all
responding to skateboarding.

♪

You can't write
about skateboarding

and who gives a fuck?

Big Brother was really
never about skateboarding.

I mean, it had skateboarding,

but we really hid
behind skateboarding

to just make this
ridiculous magazine

of just stupid shit
we'd want to do.

♪

We thought it would be funny

to take Slayer to Disneyland.

And I still think it's funny.

Like Slayer doesn't
belong at Disneyland.

But somehow they
agreed to do that.

So we picked
a group of skaters.

Danny Way, Lance Conklin.

Invited Wee‐Man,
Chris Pontius.

Slayer took their sweet time

arriving at Disneyland.

So, like, some of the guys

were pretty lubricated

by the time they arrived.

(laughter, shouting)

♪

This is a family place!

Keep the foul
language to a minimum!

No use of the word
"cunt," all right?

No use of the word "assfucker"!

No use of the word "fuck it."

♪

Take me to the teacups!

♪

I'll take you to
the teacups, pal.

We were looking for
the bar in Disneyland,

like, because we heard
there was a secret bar,

but we couldn't find it.

There was no booze
in Disneyland.

I remember somebody going,

"Let's just go back to
the bar and just go drink."

Like, "That's a great idea."

When we got back to the tram,

that's when Lance Conklin

jumped into
the submarine ride.

♪

I mean, it was mayhem.

It was just a
lot of bad people

at Disneyland
at the same time.

But we got four
pages out of it.

And at some point
we realized, like,

"Fuck, what are we doing?

We should go out on the road."

♪

And so the first tour we did

was out to the Midwest.

And the content just wrote
itself along the way.

♪

We realized, like, we
can create whole issues

just by going on
the road for two weeks.

♪

The first tour was fun,

but the tour that
we planted the flag,

like this is what
Big Brother is,

was the Mardi Gras tour.

♪

That tour came up
at a point in my life

where I was really up

for fucking going for it.

Jeff had just broken up
with a long time girlfriend

and he was ready to die

and to take everyone
along with him.

Hey, kid.

♪

And that made for
the most magic trip ever.

♪

Yeah!

(cheering)

(laughter)

There was always
a lawlessness

to being on the road
with a group of skaters

and we'd always
do crazy stuff,

but I think the Big
Brother Mardi Gras Tour

sort of took
that little aspect

and pumped it to a thousand.

♪

You know, I think
that the Mardi Gras Tour

was almost like
a coming of age

for a guy like me.

Getting some beer.

The complete
and total chaos...

♪

I've just‐‐I don't think
I've ever experienced

anything like it, you know?

♪

When I look back, I'm like,

"Okay, when did we skate?"

Like, I can barely even think

of, like, where we even skated.

♪

Dyrdek and I really
forged our relationship

on the Mardi Gras trip.

He and I got along
really well on that trip.

His frenetic
energy was great,

and I was pretty psyched
going on that trip.

Like, I think I was
entertaining him.

♪

The Mardi Gras trip

taught me the framework

of how you do a tour article.

You introduce
the characters,

you take them on
a little adventure,

you make fun of
them along the way,

you have little
sidebar boxes,

and then if you
don't have a picture

you have somebody
draw a picture of it.

That's the thing that
affected me the most

was this is the formula.

And I've ripped it
off for 15 years.

The only thing
we blew on that trip,

and we blew it bad,

was we just didn't
have very good coverage.

I kind of knew in
the back of my mind,

at some point we're
going to put out a video

that supplements
the magazine.

♪

Back then,
besides magazines,

the only way you
saw skateboarding

was on video.

♪

And every company
would put these out

to basically
showcase their teams

and sell 'em
in skate shops.

Kids really
don't understand

the importance
of a skate video

and what it meant to wait
for a video to come out

and have to go
buy it at the shop

or see it played
at the shop.

It wasn't like today,

you can just push a button

and pretty much see anything.

Like, you had to go
and, like, find it.

Dude, I'll give
you a hundred bucks

and I'll take you
out to Benihana's

if you slide that
75‐foot handrail.

It's like the moments
in between skating

in a video, you know,

that really make
you fall in love

with this culture
and these people.

Rodney.

No, don't do it!

♪

Here.

So going into the
East Coast Tour,

we knew we were going to
make a video out of it.

Well, I was invited
to go on that trip

basically to shoot all
the wild and craziness

that they would get into

and then some
skateboarding too.

I guess they were
planning on making

a skateboard video
out of it, you know?

And we're off.

On the great East Coast Tour,

so come along and enjoy.

(laughs)

The problem was we
didn't have any skaters

who wanted to go with us.

The only skater who showed up

was little Bill Pepper.

♪

'Sup, Socrates?

Just filming.

‐What's in there?
‐How you doin', buddy?

Hi, dude, let me
shake your hand.

We didn't have

many pro skateboarders
coming with us,

but we did have
an awesome set

of magazine
contributors coming.

We had Dave Carnie
for the first time.

We had Chris Pontius coming.

Kendra was coming with us.

And one of the things
I was psyched about

is we were actually going to
meet Dimitry in Boston.

He had been a contributing
writer and photographer.

But this was really
the first time

we were going to
meet him in person.

I was living in
New York at the time

and I was sending pictures
to all the skate mags.

And Big Brother
was going on tour

on the East Coast,

so I met up
with 'em in Boston

and that was the end
of my college life.

Come on, we're going to
have a snowball fight.

He had been contributing
photos and stories

to the magazine for a while,

but we really discovered
his true talent

was behind the video camera.

Day one, he caught Carnie
getting blasted in the face.

(grunting)

Did you get that?

Oh, Dimitry!

You all right?

I wanted to be part
of Big Brother

more than any other skate mag

because that's
the only magazine

where you could get away
with whatever you want.

You know, they were just
psyched to get content.

♪

Carnie was on fire.

And it was clear
from sort of the jump.

Carnie went on that tour
with just nothing to lose.

It was probably
the closest I came

to living in the now.

Whoa!

You know, going on a skate tour

with your friends
on the East Coast?

Fuck yeah, I want to come.

♪

Mom!

Mother's drinking!

Mom!

(unintelligible).

Mom, get off the stage!

"Mom, get off the stage?"

Mom, don't do this to yourself!

Get your own damn show.

Do I come and
fight with you

at your job at McDonald's?

(cheering)

♪

The East Coast trip
was kind of like

the point where
Pontius and I were moved

from contributor to staff.

We even met Bam Margera
on that trip

in Philadelphia.

We were shooting
at Love Park in Philly

and there was this
little 13‐year‐old kid

there with his dad.

You know, it was the first
time he was in Big Brother.

We had no idea
he would become

such a big part
of our future.

(chatter)

♪

I don't know what to say
about our group anymore.

What about you, Socrates?

I got it on video.

So we put out our
first video, Shit.

And it actually did really well.

It got a really good response.

Basically,
seeing all the people

that made this magazine
that I liked come to life...

(cheering)

And then, like, you know,
you get to follow them

on a tour was amazing.

You know, and, like, girls
were there for some reason.

Like it was a
complete fantasy to me,

like, what these
guys were doing.

What's going on here?

We're just being
a little loud.

‐This is not a party place.
‐Okay.

I think when the first
Big Brother video came out,

I really liked how
it wasn't a skate video

with gnar trick,
gnar trick, gnar trick.

Like sometimes they
went out without a plan.

All right,
let's paint Wee‐Man blue

and just roll around LA

and fuck around, you know?

That was like one
of the first experiences

of us doing like
Jackass on the streets,

"Let's see what kind of
reactions we can get."

♪

Well, I would never
watch them with my mother.

There was what, shit in 'em?

Like there
would actually be

people shitting
and male nudity.

Which is the front
and which is the back?

The idea of the
Depends party was around

before the trip even began.

Just strap on a bunch
of Depends adult diapers,

sit around
in a hotel room,

drink beer,
and piss ourselves.

It was Jeff's idea
but it became my dream.

Oh yeah, this is a funky song.

I like it, I like it.

Oh, you guys, look,
I'm about to pee.

I'm peeing, I'm peeing!

(laughter)

Oh my God, it works.

Peeing yourself is
every bit as weird

as you imagine it would be.

Oh, I just did it,
I just peed.

It's that feeling like
when you're in a dream of,

"Wake up, wake up,
it's time to wake up.

Something really
wrong is happening,"

except for it's real.

I just peed again.

You guys, that's
three times now.

What are you doing?

I'm taking a poo.

‐‐in his wardrobe
to confirm that.

How you feelin'
in that poo diaper?

(group responds with disgust)

They're a really good product,

like they hold your pee,

they hold the shit,

and they held the stink in.

He pooed his Depends.

Look at that.

'Cause when I took 'em off

to show everybody
what I had made,

Rick puked.

He couldn't handle it.

It was that bad.

Video Rick, video
Rick, he's puking!

Are you puking, Rick?

(laughter)

I'm going to be
fucking sick, man.

That's fucking gross.

My parents somehow,

they somehow saw Shit,

I don't know how,

and they were very,
very, very disappointed.

And that's what they said,
that was three verys.

13‐year‐old Chris Kearns
and his buddies

have just taken up
skateboarding.

Chris decided to go
to this Barnes & Noble store

in Roseville to pick up
a skateboarding magazine.

I thought that there'd be,
like, tricks and stuff in it.

But what Chris found
inside Big Brother magazine

was an eye‐opening look into
the world of adult material.

Frontal nudity,

picture of people masturbating,

and even a Pink Panther
with an erection

are found on the pages
of the magazine.

Right around this time,

we got into some real trouble
with the city of El Segundo.

Big Brother is aimed
at little brother,

and that's what we're against.

I don't care if
18 years and above

read this garbage,

do whatever they want with it,

but not at my children,
not at any child.

Thank you.

(applause)

I think it's up
to this city council

to do legally what we can
do to shut this down.

Every legal way possible,
because it's time.

Right now, we're
going to say "no more"

to the Roccos

and to everybody
else out there

that has this kind of garbage

and that are playing
against the young people.

No more.

I really don't think taking
away one little magazine

‐is going to solve your problem.
‐It's a start.

A marathon race is
started with a first step.

You bet we‐‐

(applause)

The news got hot on that.

We were on the news
pretty quickly after that.

Sylvia Lopez has the story
behind Big Brother magazine.

KCAL9 News shows up.

I'm going to be
interviewing him.

What are you going to
do with all this tape?

And we knew they were coming,

so we all made hats that
said "Channel 13 News."

‐Is that going to be...
‐This is already up.

Why don't you film it,
you should film it.

This is going to be
in the magazine?

It's already out, we've
already published this.

‐Which one is it?
‐Number nine.

We just tried to sabotage
their interview of us,

and then they interviewed me

and just caught me out there.

Then they cropped out the funny,

so we thought we had them,

but they just had me
cropped in tight.

Basically, it's just all
in the name of humor,

that's what we're doing, and
I think it's very obvious.

But Tremaine couldn't
defend the publication

of sexually explicit materials

in a magazine whose
readers are kids.

There is some very sexually
explicit stuff in there.

Yeah, there is.

Pornographic, I mean,

I think you'd have
to label it that way.

Well...

you can label it,
you know‐‐like I said,

I didn't really want to
even go on camera, so.

A Barnes & Noble spokeswoman
issued this statement, saying:

♪

I guess that freaked
everybody out and, like,

a lot of, like, the
advertisers pulled out.

That seemed like the magazine
could end at any time.

Big Brother never made money.

(laughs)

We, in fact, lost;
we were a losing venture.

We didn't sell enough ads
to generate enough

to really even pay
the print bill.

My CFO, Scott, came to me.

He goes, "Every time you put
out an issue of Big Brother,

you guys lose, like, $50,000."

We knew Big Brother
never made money,

but we didn't know
it lost that much money.

And so it kind of became
clear that, you know...

we might be on thin ice.

♪

People were protesting
World Industries.

City of El Segundo
wanted to kick us out.

I was thinking, "God,
should we just, like,

fold it" or this and
that, and Scott goes,

"Don't‐‐don't,
don't, don't, don't.

We can‐‐we can sell it."

And I'm just, like,
"Who in the fuck

would buy, like‐‐
are you kidding me?

Are you kidding me?"

And he goes, "Trust me."

And then, I was in
Hawaii at the time,

and he called me up and goes,

"Larry Flynt wants to buy it."

♪

I showed up for work one day

and Rocco pulled me in
and told me that

Larry Flynt's
buying the magazine.

I don't remember exactly
how I felt about it.

I‐‐I know, I think
I was a little nervous

because we'd had
our own little kingdom.

There was no one to answer
to, absolutely no one.

We were doing our own thing.

Get that out of here!

But it's Larry Flynt, right,
so it's going to be cool,

it's going be awesome.

Larry Flynt was a pornographer.

He was the publisher
of Hustler magazine

and he was a champion
of First Amendment rights.

But I was most excited
about working for him

because it was an actual
publishing company

and the magazine would
have actual distribution

and be on real newsstands.

I wasn't excited about it.

Larry Flynt had a lot of
rules that we had to follow

and one of them was
a strict dress code.

LFP was a corporate environment.

And so, yeah, they
wanted us to wear, like,

collar shirts and khaki pants
and business casual or some shit

and we were, like, "We're
a skateboard magazine,

we can't dress like we're
fucking Best Buy employees."

They turned a blind eye to us,

but the rest of the
building, you know,

had to dress up like

these half‐assed
corporate employees.

♪

And I just remember
being really struck by

the fact that this magazine

was a totally different
product each time,

and I realized,
these are guys

who don't want to get bored.

Like, literally, they
reinvented it every month.

It was like, uh...

you just knew
that there was a lot

of creativity and talent
and energy there,

and that they were
going to go places.

♪

I remember when
Flynt Publications

bought Big Brother,
and I just thought that...

well, it's a
relatively good fit,

because they are shocking,
but then I thought,

"Well, does that mean
it's going to go to porn?"

And the irony was that
once Flynt took it over,

it got mellower.

I mean, it wasn't,
like, conservative,

but, like, Larry Flynt
wasn't, like, you know...

he wasn't out to, like‐‐

he didn't buy Big Brother
for, like, the tits.

We were publishing
a number of porn magazines.

It didn't make any sense
to do any more of them.

So we were going after
the mainstream media,

trying to find niche areas

that we could be
successful in,

whether it be
skateboarding or whatever.

So immediately after
we started at Flynt,

there was no more
boobs, no more dicks.

Any genitalia had to be covered.

We were always trying
to get away with shit,

and so we thought
it'd be really funny,

what if we hid a
really naughty picture

and a bad word
right on the cover?

But we got caught,
like, right here.

These are called
cover blurbs,

and if you look here,

P‐U‐S‐S‐Y.

Like, you know,

sometimes, we would
get away with it

and sometimes we wouldn't.

Tonight, a local
El Cajon couple

is outraged by
a national magazine

aimed at kids
who like skateboarding.

Yeah, the Kids Issue
we got in trouble for.

With big block lettering,

bright colors,

bold print,

and the words "Kids
Issue" in one corner,

Sheryl Templeton thought
she knew what she was buying.

Parents looked at the cover
and they saw "Kids Issue."

But you'll notice there's
no apostrophe there.

This isn't an issue for kids,

this is an issue about kids.

But I was just livid.

Colton's dad found
references to bestiality,

nudity, suicide, and more,

all mixed in with
kids' interviews.

One of the questions I think
every kid got asked was,

"Would you f‐‐‐ your mom

to be as good as the Muska?"

Because Muska was the
best skater at the time.

You know, thank God my questions
weren't as bad as some

of these other kids
that I saw, you know?

I remember watching the
news a little bit later,

and then I saw the
cover on the news

and I was like,
"Mom, that's me!"

And then they were talking
about all the controversy,

and then she had to
kick me out of the room.

I'm outraged at this.

Read on and it gets worse.

This section titled
"How to Make a Kid"

describes sexual intercourse

in the form of
a baking recipe.

It's so bad, we can't
even show it to you.

Who publishes this?

Actually, that's the only
part about all of this

that isn't shocking,

because the publisher of
Big Brother Skateboarding

is self‐proclaimed
pornographer Larry Flynt.

Some of the things
in here just seem like

they're trying to break
down children's inhibitions

by asking children,
for example,

"Do you know what a scrotum is?"

"Do you have pubic hair yet?"

"Would you have sex
with your mother?"

Well, that's kind of
kinky, you know?

We got in the news for that,

but it never
caused any problems.

The one issue that I thought‐‐

I was like, "This
is the demise of us.

Larry Flynt's going down,
we're going down,

everybody's going down."

Because the Big Brother
subscribers got sent

an issue of Taboo magazine,

the lists got switched.

So Flynt had this porn
magazine called Taboo.

It was their
naughtiest magazine,

it was the one that had
girls peeing on people.

Like, just their most
radical title was Taboo.

And not only is it
Taboo magazine,

but it's the fisting issue
of Taboo magazine.

On the cover,

there's a black fist
covered in K‐Y

in front of a girl,

and I'm thinking,

"This magazine is
going unsolicited

into people's homes

to probably a lot
of underage kids."

♪

"And that's got
to be illegal."

Here's an odd story.

There's this magazine
for skateboarders

called Big Brother
Skateboard magazine.

Larry Flynt puts it out.

Well, somehow, all
the subscribers‐‐

Larry Flynt said
last night on the news,

they got the mailings mixed up.

Somehow, subscribers
to the skateboard magazine

actually got copies of the
adult magazine Taboo instead.

(laughter)

You know who I
feel sorry for?

The guys who subscribe to Taboo.

They wound up getting
the skateboard magazine.

Those are the ones
that I feel, I feel...

Kev, what is this?

(audience hoots, applauds)

And that was it,
then that was done.

And anytime you get
on the television,

advertisers who were maybe
on the fence are like,

"Well, more people are
picking up this magazine now,

so I'm going to
advertise in it."

Some stupid
skateboarding magazine.

(audience laughter)

So it wasn't
a bad thing for us.

Anytime anything like
that happened, you know,

boom, we would
just sell magazines.

It was great.

Aside from losing
the gratuitous nudity,

the most troubling thing

was that Flynt wanted
us to go monthly.

That scared the shit out of me.

Look, we were barely
keeping our head above water

and keeping enough content

for a bi‐monthly magazine.

But we got a bunch
of new contributors.

I came across a copy
of Big Brother

and I fell in love
with it instantly.

Chris Nieratko
started writing for us.

He would mainly do
music interviews,

and he would ask the artist
the craziest questions.

Like, he asked Big Pun,

"What's the most expensive
pair of sneakers you own?"

and followed it up with,

"Don't you think that's
kind of a waste of money,

since you'll never
be able to see them?"

No wonder Big Pun
pulled a gun on him.

I almost didn't believe him

until I went with him to
interview Ronnie James Dio,

the legendary singer
of Black Sabbath.

Yo, we're here to see Dio.

♪

We go into the interview,

and there's like
these metalheads

in the waiting area,
and they're like,

"Hey, don't ask him about Ozzy."

Don't ask him about this‐‐

they're giving me
these pointers.

Don't piss him off.

He might kick your ass.

I took notes on everything
they told me not to ask about,

and that's everything
that I asked about.

‐How you doing?
‐Hey, Big Bro.

‐How you doing?
‐How you guys doing?

Good, good, how are you?

He's a short little fucker,

and when I got in there,

it was the first thing I said.

How tall are you‐‐
you're pretty short, huh?

No, I'm actually 7‐foot‐9.

You look so short.

I can't believe that
you didn't realize that.

The word is "small,"
not "short,"

so don't piss me off or you
won't get a good interview.

No, I'm not saying
that it's a bad thing.

You said I was short, that
pisses me off right away.

Out of the gates,

he just starts pushing
his buttons hard,

and Dio's getting pissed.

How old are you anyway, Rodney?

‐Ronnie.
‐Ronnie?

Yeah.

You're really fucking
stepping your foot

in this one,
aren't you, man?

I think I asked him

how they made him look so
tall on the album covers

when he's such
a short little fucker.

If you want me to beat
the fuck out of you,

I'll be more than happy to.

‐No, I don't want you to.
‐Let's just clear

the fucking room and I'll kick
your fucking ass for you;

if that's what you want,
no problem from me.

‐No, I don't‐‐
‐I'm good at that.

I don't want that,
I'm just asking.

Fine, let's go,
come on, out.

Thank you very much.

And all hell broke loose.

He called for security.

I don't appreciate
this fucking shit either!

Just get out right now, out.

I mean out!

Out!

It turned into complete chaos.

And after that, I never
doubted Nieratko again.

Hey, I'm sorry, I didn't
mean to upset you.

You should be
fucking sorry, mate.

(crowd chatter)

I was living in
Albuquerque, New Mexico,

and when Big Brother
came through town

with a skate tour for a
shoe company called Duffs,

I just tracked those guys down.

Yeah, he found us.

We were on tour with Duffs,

and when he caught wind of that,

like, he just went off.

I wanted to be a skateboarder

and in skateboard media.

But I just wasn't that
good at skateboarding.

So I just said, "Okay,
screw the skateboarding.

I'm going to provide
the comic relief."

♪

And Steve‐O had the idea
to light his hair on fire

and have Markovich blow
a fireball off his head.

What is that?

Hairspray.

Extremely flammable.

Which all sounds
nifty and cool,

but what made it a hit
was that the fireball

didn't get blown
off of my head,

it got blown point‐blank
directly into my face.

(crowd chatter)

(flame roars)

(screaming)

Markovich ended up
blowing all the alcohol

in Steve‐O's face.

So when he lit it,

his whole head lit up.

Still did a back flip, and...

that was in the article.

♪

That's when Steve‐O first was
in the pages of Big Brother.

His dream,

but he burnt his
face off to do it.

That's how we got
introduced to Steve‐O.

♪

But the first time
I met Steve‐O in person,

we did our Florida tour.

Steve‐O was red hot.

He wanted to be in front
of the cameras so bad.

But he was also
super annoying

the whole time.

(projectile whines)

I kind of had the same
effect on everybody.

I was, like, super annoying.

I should say,
they were annoyed.

(chortles)

I wasn't annoying,
they were annoyed.

But goddamn,
did he deliver.

Like, he did this
front flip‐and‐a‐half

off this bridge
and just ate shit.

♪

I think we tried
to ditch him then.

He was in the water,

and I'm pretty sure
we were going to

load up the car
and ditch him there.

But motherfucker,
he just somehow

scurried back in, saw us,

and just got on the case.

And...could not ditch him.

I did everything I could

to force my way
into the scene.

I practiced my
autograph for years

before anybody
ever wanted it.

I just wanted to be
famous so fucking bad

that the first time
I got recognized

for being in
a Big Brother video,

like, it was...

you know, like, "Ahhh!"

Well, I'm Johnny Knoxville,

United States of America,

and I'll be doing
a little article

on self‐defense equipment.

I'd met Knoxville through Spike,

and he was a writer at the time,

he was writing for
another magazine.

I didn't write for Big Brother
for a long time because

I didn't‐‐I didn't skate,

and I don't know what
I'm going to write about

if I don't skate.

But it wasn't just skating,

it was a lot of
bad behavior,

which I could do.

He came to us with the idea
to do a product review

on various self‐defense items.

I'm going to start off

by spraying myself with
SABRE Red Pepper Spray.

It's the highest
concentration you can get.

He was going to
pepper spray himself,

stun gun himself,

shoot taser darts into himself,

and then eventually,

putting on
a bulletproof vest

and shooting himself.

Well, you know, I'd
moved out to Los Angeles

to become an actor

five or six or
seven years prior,

and I'd really not
done anything about it.

And then my girlfriend
at the time got pregnant,

and that was a huge
wake‐up call in my life,

that I have to do
something quick.

Then we're going to
drive out to the desert

and I have a .38 hammerless

nice and light
Smith & Wesson

that's got all the
stopping power of a 9mm,

and I'll be getting
shot in the chest

with this 911
Level IIA Kevlar vest.

He doesn't have a pot
to piss in at this time,

so the bulletproof vest he got

was the cheapest one
on the market.

I wish I had enough money

for the most expensive
vest, but I didn't.

Those were like
$700 or a grand,

and there is no way I had
that kind of scratch.

I thought that was a
great idea for an article

and thought, man,
we should film this,

this is going to be great.

But we should film it too.

‐You just tell me when to go.
‐Okay.

We filmed the
first three things

at Beautiful Jason's house.

And it seemed to go‐‐

I mean, we couldn't
see from the footage,

but it felt like we
were getting something.

Hit me!

(grunts)

(exclaims)

Mm!

Oh my God!

And when he came
back with these tapes,

it was so compelling.

(yells)

Because Knoxville
could talk to the camera,

he was the first
guy that we had

that could actually
talk on camera.

How you feeling, PJ?

Oh, I feel like my
eyes have gonorrhea.

(exclaims)

He walked you through
all these tests.

First it's the pepper spray.

You saw how bad that sucked.

Then it was the stun gun.

Charge!

(gun zapping)

(painful exclamation)

Fuck!

Third was the taser darts.

Weren't you on 90210
not too long ago?

(shouts of pain)

Oh, fucking hell!

And he's making it funny.

No, quit‐‐

Ahh, fuck!

And then we had to decide
where I was going to get shot.

Because we had no location,

and we just got
on the freeway

and started driving.

During the whole
car ride out there,

the anxiety in the car was
just getting higher and higher.

And then when we got
to the fire road

and I pulled out the gun,

everyone started
freaking out.

My friend Beautiful Jason
who was supposed to shoot me

said, "I'm not shooting you."

He goes, "You got a kid,
I'm friends with your wife.

I can't shoot you."

Like that, Jason?

How's that?

Hm?

‐Huh?
‐How's that?

♪

Looks pretty good.

And then my friend Jeff Bender,

who's taking the still shots,

told me at that moment

that he'd watched
a friend of his

die from doing a stunt.

Not great news.

So he was no longer
taking still shots,

and then Loomis,
my friend Loomis,

stepped up and said,
"I'll film you,"

but he'd never worked
a camera before‐‐

or since, probably.

And he was just
all over the place.

This is like a bad
fucking scene right now.

I don't want anything
to do with this crap.

I wish somebody'd shoot me.

I'm not...

Say a prayer, dude.

PJ, we don't even know
where there's a hospital.

You rolling?

Let's go.

♪

Let's fucking go, PJ.

This is beyond dumb.

PJ, let's fucking go.

(trigger clicks)

Let's go.

Now you've got to go
the whole way around.

‐Sure?
‐I can't handle this.

PJ, let's fucking‐‐

Find out where the bullet went.

‐PJ.
‐(trigger clicks)

Come on, man!

PJ, let's fucking go!

(trigger clicks)

I'm about to throw
a fucking rock at you.

Let's go!

(trigger clicks)

‐It's the next one.
‐PJ, come on!

I can't handle this.

PJ!

It's so fucking lame,

I can't even tell you right now.

Forget it.

(gunshot)

Let's go!

When the bullet
finally went off,

it just threw me back.

Let's go, dude, just go.

Put it in that thing and go.

Just leave it in.

Like someone hit you in
the chest with a shovel.

Just leave it on.

And this crazy rush of
adrenaline shot through me

and I just remembered, like,

"Let's get the
fuck out of here."

Jeff, will you drive?

And just so relieved that

I just didn't die.

You know?

Because...

PJ, how'd it feel?

It was cool.

Didn't hurt?

No, I was kind of
scared, though.

I feel like Johnny Ace.

Playing Russian roulette.

It was cool like it
took five times to do.

Yeah, that was marvelous.

See, it didn't even
leave a fucking‐‐

I told you guys.

I know when I went in
the office that Monday,

everyone had seen the footage

and they were
really excited,

so I was thrilled,
because I‐‐you know,

I looked up to the
Big Brother guys,

and that they liked the footage,

I remember being
really proud of that.

Burritos on me.

Once Knoxville started getting
involved with the magazine

and writing more,

and he was becoming
a significant personality.

He's never even
ridden a skateboard.

He has nothing to do with
skateboarding, but...

here he is in this
skateboard magazine.

He fit in perfect.

I felt like I finally
found, like a home,

and this could be something,

and I think...

and I know Jeff
felt that way too.

He‐‐he recognized that
it was a special group.

♪

If there was any article
that I remember vividly,

it was the self‐defense article

that Johnny Knoxville
did, because...

he shot himself!

And then, we knew
you guys had it on video

and just figured,
"Well, it'll be in

the next Big Brother video,"

which was, you know,
scattered skate stuff

and other highjinks,
and then, all of a sudden,

it was like, "No, this is‐‐
this is a whole new thing."

I'm sure there's a
fucking shit‐ton of people

that will get down on me
for this right now,

but I don't
remember the skating.

I remember going,

"You have to see the video,

because this fucking
weird dude from Tennessee

shoots himself."

(gunshot echoes)

I don't even know
if it's a standout,

but for some reason,
etched in my mind permanently

is the Poocano.

In the past thousand years,

volcanoes have claimed
more than 300,000 lives.

Which is just such
a shocking image.

No beauty more deadly

than the fire within.

♪

Pontius stole Carnie's
thunder on the Poocano.

Like, the Poocano
is Carnie's idea.

Carnie went to do his

and it didn't fly
the way he imagined.

So I ended up
doing the Poocano,

and I don't want to say
I got credit for it,

but, like I never wanted
this kind of credit.

He just had a better
shit at the time.

He also‐‐Chris has
a bubblier butt,

so it looked better
for the fake volcano,

that it was Chris's
butt, you know?

I've made a career
off of Chris's butt.

♪

In the second
Big Brother video,

they filmed me rollerblading
in, like, a jockstrap.

And people were yelling at me,
like, "Put some pants on!"

and, like, these volleyball
players threw a ball at me,

wanting to fight, you know.

It sounds ridiculous now too.

Because now, like,
if I did the same thing,

people would just be
cheering, you know?

The world was not
as good of a place then.

Holy...

There was nothing like
Big Brother videos out there.

As simple as it seems now

looking back on this stuff...

Hi, Mom!

...I think it was
definitely, like,

very pioneering for its time.

(flare whistles)

Nowadays, you could
search on YouTube

and find crazy stuff,

but Big Brother had that
all in their videos,

you know what I mean?

So it was like‐‐
it was just crazy,

I mean, it was just good times.

I mean, you always
looked forward

to a Big Brother video
because you never knew

what the hell was
going to be in it.

The next video was Boob?

Boob.

I was like, okay,
I got another video,

I have to think of
some things to do.

Hi, I'm Johnny Knoxville,

and I'm going to get
hit by a car real soon.

(engine revs)

(sharp thud)

I was like just
such a fan right away,

and also, of course,
threatened,

because I'm like,
"Fuck, this guy might

be gnarlier than me,"
you know, like... oh!

♪

Well, Steve‐O,
he actually got me into...

jumping off random bridges
into water, you know.

When I saw him
do a front flip

blowing a fireball out,
you know, like,

I'm like, "Shit!"

So, yeah, I started
getting into that too.

So Bam came out with
a video called CKY,

which was really
similar in spirit

to what we were doing.

It was just him
and his friends

fucking around
in Pennsylvania.

♪

To Bam's credit,
like, when I started,

it was all, like, stunts.

(thud)

And then, I saw a CKY video,

and they were doing pranks.

I'm like, "Oh, I should
start doing pranks."

Excuse me, ma'am?

Ma'am...I'm sorry.

This sausage doesn't look right.

It looks a little like poo.

This sausage looks like poo.

It smells.

This is not a sausage.

That opened up a
whole new thing for me.

I can't eat it,
I can't eat it!

I thought I could make
a TV show out of it.

I don't even know what
the TV show would be.

But we had an exceptional
arsenal of shitbags,

so I called Knoxville.

"Hey, let's partner up

and try to make
a TV show out of this."

I said, "Okay."

And Spike got us
his agent, his attorney,

and credibility...

And after that,
I just cut together

basically the best of our videos

mixed with Bam's
stuff for CKY.

And MTV just loved it.

They ordered a series.

You know, MTV had been
into scripted shows

for quite some time
at that point,

and Jackass sort of felt
like a polar opposite.

The feeling was this spoke

so authentically
to the audience

that we had to let it go.

No intelligent,
thoughtful adult

would make a show like this.

And‐‐and so, it's perfect.

It's perfect for the
teenagers who watch MTV.

♪

You know, I remember the day
that Jeff told me at lunch

that he was leaving
the magazine.

And I just remember
being devastated,

I was like, "Oh my God,
you're leaving the magazine?"

And he was like, "Yeah,
I'm going to go on

to make Jackass, you know?

MTV picked it up,

and I'm going to go
do this full time."

♪

So I kind of felt like

it was the end of an era

and the beginning of a new one.

It was‐‐it was
a scary decision.

Jackass was not
the sure thing

that it seems like
it would be, you know?

It was going into the unknown.

But it really was‐‐

you know, leaving
Big Brother was‐‐

you know, it was leaving
a family behind, you know?

♪

Once Jackass happened

and part of the staff left,

Dave Carnie became
editor of the magazine,

and that's when we
brought on Chris Nieratko

as managing editor.

To me, Jackass was great, cool.

But I get to have
a skateboard magazine?

This is actually mine now,

I can do whatever
the fuck I want in this?

Way cooler.

♪

When they all left,
it was like...

someone had come in and
sterilized the office

with a hose

connected to the
Fountain of Youth.

♪

And so, it was me,

Dimitry, who was maybe 21.

Big Brother let me
do what I love,

which is shoot skating
and travel the world and...

write about it.

I was going to
all these places

I'd never dreamt
I'd go to, you know?

All for skateboarding.

♪

And then, we had a
bunch of young interns.

♪

And Carnie was, like,
the leftover old guy,

and Kosick,
who was like‐‐

I think he was the
oldest of anyone ever.

It was going good.

You know, the magazine was
the biggest it's ever been.

We had some great moments,

we've put out another
really good video...

‐Get 'em, Caddy!
‐(exclaims)

Which was Crap.

Crap, Crap, Crap, Crap.

♪

I think that's the main thing
that I got out of working there

is it was like a big family,

a big, dysfunctional
family that was fun,

and everybody would
hang out together

and drink together
and do stupid stuff,

and even when you were
working in the office,

it never really felt like work.

(shouting)

The skateboarding industry,

it's notoriously
up‐and‐down.

I think right when
Jackass was starting too,

the skateboarding
industry was up.

Skateboarding's
getting bigger,

it's on national television.

But those are
the big‐money guys,

and they don't like Big Brother.

Watch out!

(exclaiming)

And Flynt's like,
"Where's all the money?"

And it wasn't coming to us.

(beeps)

♪

Right around 2004,

skateboarding was seeing
this influx of money

from outside corporations.

The "core brands"

started taking
themselves too serious,

and they just didn't
want their "athletes"

portrayed in a negative light.

The risks never stopped.

The magazine seemed
like it took risks

up until there wasn't enough
interaction or advertisers

that wanted to
participate in the risk.

The editorial staff,

maybe they'd change
what they're writing

in order to please
an advertiser,

and I think that was
one of the things

that was different about us.

You know, there was
sort of a punk rock ethos

in the magazine,
where, like,

"We're not changing;
we do what we want."

And in the end,
it hurt the magazine.

Because you'd piss off
a lot of people

and they just
wouldn't advertise.

But you gain all this
notoriety with your readership,

because you go,
"Holy shit,

no one else has
the balls to do that.

Thank you for losing
a major advertiser

to amuse me."

It sucks; it sucks because...

at the end of the day,
Larry Flynt is a publisher,

and if we're not
making money,

there's no reason
to keep us around.

And it was just this
fucking sinking ship,

which it didn't feel
like a sinking ship.

I was completely
shocked and surprised

when I got called up and fired.

This one day,
the VP of Flynt

called Dave and I
up to her offices

and said they were
pulling the plug,

that it wasn't
making enough money.

♪

And that was really
what it was all about.

So when all these
motherfuckers in the industry

come up to me
and they're like,

"Hey, you guys should
bring Big Brother back,"

I'm like, "Fuck you.

Shouldn't have pulled
your advertising.

I didn't kill it,
you killed it."

Maybe it was
the change of an era,

you know what I mean?

I think that was
a transition stage

of skateboarding in general,

and with that transformation
into the mainstream,

I think people were
a little bit more scared

to associate themselves
with things that were

a little bit, uh, riskier.

I think there were points
skaters who were like,

"Dude, I don't want to hear you
ask questions about my dick,

I don't want to hear you
ask questions about my mom,"

you know, and turds, you know?

They didn't want to hear that.

Dicks and shit,

definitely probably,
you know, hung them.

♪

I personally mourned
the loss of Big Brother

maybe more than anybody.

I love that shit.

You know, I always
loved that shit.

It's one of those things
I get nostalgic for,

because it was one of the
funnest times in my life

in that it was
all I lived for.

It was all any of us
lived for, I think.

We had nothing else
in our lives.

It was just Big Brother.

And everything that
happened in our lives

happened in Big Brother.

♪

We were these characters.

And in a real
office setting,

you're just an employee.

You go to work,
you do your job,

and then you punch out.

But for us,

work was an adventure.

When I get
recognized for Jackass,

I don't care.

It really matters
most when people go,

"Man, I loved
Big Brother magazine."

That's when I'm feeling, like,
yeah, that's cool, you know?

Those are the real fans.

I know for myself,

like, that was my
biggest influence,

at least comedically.

Humor didn't feel dangerous

until I picked up
a Big Brother,

and then, I felt that
humor could be cool

because it could be dangerous

and make people uncomfortable.

Clearly, commercials
and TV shows,

they all sort of went

for that low‐tech,
low‐vibe‐y look

right after Jackass came out,

because it sort of
swept up culture.

Everyone talked about it,

it was on the news shows,

they were guests on
the nightly shows.

Yeah, I remember when
the first Jackass came out,

everybody's going,
"Did you see that?

Did you see this?"

Like they're all
blown away by it,

I'm going, "It's
just the magazine.

It's just the fucking
magazine on video."

Big Brother's influence

told everyone else that

you should get fired,
you should make mistakes,

you should get in trouble,

you should lose advertisers,

you shouldn't play the game.

And that is a more
important lesson

than it's ever been.

♪

To this day,

I still work with
Cliver every day.

Rick Kosick every day.

Rob Dyrdek.

Johnny Knoxville.

I mean, we're all still together

in many ways.

♪

Big Brother was like

a really important
thing in my life.

I felt that it was
important at the time,

I just didn't know
how important it was

or it was going to be to me.

I mean...

those guys are all,

they're all my fucking
friends, you know?

They've seen me, like‐‐
fucking shit my pants, and...

Hold on, hold on a second.

(laughter)

Now go fuck yourself.

♪

♪ Let's get fucked up ♪

♪

♪ Let's get fucked up ♪

♪

♪ Let's get fucked up ♪

♪

Jesus!

♪

♪ Let's get fucked up ♪

♪

♪ Let's get fucked up ♪

♪

♪ Let's get fucked up ♪

Like, these are hard questions,

and they're, like, boring.

♪

‐There it is.
‐♪ Let's get fucked up ♪♪

(laughing)

Formed up.

I think Big Brother sucks!

(cackling)

(simian‐like screech)

♪