Greetings! Seasonally speaking, that is, because we're here to help fan the flames that fuel the economy with a few gifty (and perhaps even thrifty!) ideas for your friends, family, loved ones, and any other sentient lifeforms you deem worthy of presenting a present. For the most part these items don't fall far from the extended branches of our tree (like most things, including but not limited to fonts, songs, and titles), but so it goes within our cloudy realm of nepotism. On that note, did you know that a nephophiliac is a person obsessed with clouds, like in a very loving and longing way? Consider that your word of the day—a free gift from us to you. Cheers!
If you didn't think this was going to start out with the Wildboyz, well, sister, you clearly haven't been a lifer in this wildery region. The gold standard by which all other shows on basic cable are measured by, Wildboyz was not merely one small step for man, but one giant leap for mankind. The show enjoyed a brief run on Netflix, but a few random Twitter rallies have yet to bring the show back to America's favorite black hole of binge. So if you want to see Steve-O and Chris Pontius streak across the globe in a relatively naked manner, then you're gonna have to do the VOD deal, or—gasp!—acquire the DVDs of Season 1, Season 2, or the collected Season 3 & 4. Learn yourself good!
Did you know there have been like 19 seasons of Ridiculousness so far? Holy crap. What a behemoth Rob Dyrdek did doth make, but when you've got a rectum like the internet crapping out Lincoln Logs of ridiculous clips, what can you expect? No, don't respond, that was purely for rhetorical effect; however, if you're looking for a way to wile away the winter days when the mercury drops below freezing and all you want to do is tell ole Jack Frost to suck it, why not choke on god knows how many episodes until the springtime thaw comes around? Again, that was rhetorical, but now that I think about it this is probably ridiculousness in and of itself to even recommend considering MTV pretty much runs Boston marathons of Ridiculousness all the live long day. Shit. Well, we've come this far so let's just plow on. We all plow on. You can vee oh dee or dee vee dee—the technological choice is your god given American right. Exercise it.
During the online days of jackassworld.rip, Johnny Knoxville decided to play dress-up with the "skull and crutches" logo and customize it in a staggering number of ways. Many (actually most all) have gone the way of the dodo, but the offical JACKASS storefront remains open on merchmethod.com where you can pick up a seasonal shirt to wear to Christmas dinner at Me-Maws or Pe-Paws house. Then there are, of course, all the other shirts, hoodies, jerseys, and zip-ups to get goofy on with your mom or dad's credit card, so give a good gander and don't forget to peruse what's under the rainbow as well on the official DICKHOUSE emporium. Totes? Yeah, got them too.
For those of you who don't live in a world blanketed by the frozen white death, we have just the thing for you! An honest to goodness skateboard deck designed by next year's break out star of the silver screen, the one and only Chris Pontius. Don't have the skills but still have the will to enjoy the art? Hang them on your wall as a decorative fixture! Especially in those awkward narrow spaces where nothing else seems to work aside from broomsticks, fishing poles, didgeridoos, wizard staffs, javelins, two-handed broad swords, bazookas, gigantic novelty pencils, and a giraffe's neck if you severed it off at the base. Bonus: Not only has each of these boards been fondled and signed by Pontius himself, but you can swoop one now at a special sale price! See specs and learn more at paisleyskates.com.
Lastly, and mostly because the children are our future, you should consider clicking on over to gingkopress.com for a big, square, coffee table book of shit that details (sort of) the chronological history of Big Brother skateboard magazine—all the way from crappy Issue 1 in 1992 to the last gasp on Issue 106 in 2004. What does this offer that Dumb on Hulu did not? Words! And lots of them! Many of them so ridiculously small yet still legible with the aid of a magnifying glass and a good deal of eye strain. There's also some other naughtiness we weren't allowed to share in documentary form. That's worth the price of admission, right? Yep, that's right... rhetorical me, bemused you. Anyway, you should really just buy this book for the Issue 17 Mardi Gras spread, and don't forget to tell 'em that Chri$ Nieratko sent you!
Patrick O’Dell: Hulu called Jeff [Tremaine], and I don’t know if Jeff thought of it, you know, “let’s make a documentary about my magazine,” but I think Hulu thought, “let’s make one about the magazine and how it became jackass.” You know, it’s an interesting story, but Jeff was self–conscious about making a documentary about himself. So I think he thought, “I still kind of want to do it, but throw in a third party.” I’d barely even met these dudes at all, but I do a show on Vice, a skateboard documentary series called Epicly Later’d, and I’ve been making them for ten years. So Jeff thought of asking me to help. It was still third party, but he did hire me. So I think it was Hulu’s idea, they threw it to Jeff, Jeff threw it to me, and then we started shooting.
How did you first discover Big Brother magazine?
The very first issue at Dodge skate park where I skated. The guy who worked there had a copy. When I got it, the cover had fallen off and somebody had done their homework on the cover. It was weird; I don’t think the guy even wanted it. He was just like, “It’s some weird World Industries catalog,” so I grabbed it and treasured it. I don’t hang onto much anymore, or even at the time, but I have it still. I loved it and thought it was cool and great. It surprised me later hearing people say the first issue sucked, because I was already a fan. So that was my introduction to Big Brother—a ripped-up copy of issue one.
What were some of the challenges you faced making this documentary?
Well, one challenge, because Sean Cliver was a big part of helping with the documentary, but he was also part of the magazine. And doing my show and sort of being familiar with the documentary process, I knew we had to streamline the story. It sucks to say, but there would be times where there are things for the people involved that were really important, but I’m constantly listening for places to make things tighter. You want to have each topic segue from one to the next. I can tell a lot of people involved, it’s their life, and certain things happened that were very important to them, but I didn’t think it would be important to other people. Sort of like, these dudes getting drunk for the first time. I don’t think it would be interesting to an outsider, but to them it’s interesting—this is my first tour and it’s the first time I got drunk. I don’t know how to explain it, but I knew when we got into editing we needed to tighten this up. So I don’t know if it was a challenge, but it’s hard to tell someone, “Okay, that story of your life is not important.” Streamlining something into an hour-and-a-half timeline can be tough. It’s a big story with a lot of people and a lot of different side people need to get their shine. Plus, it’s also for people that are very interested in skateboarding, like there’s things they want to hear, but then there’s also the general audience stuff needs to be explained to people that don’t skate. So it was hard juggling the minutia… the behind-the-scenes footnotes that a fan would want. For instance, we turned a rough cut in to Hulu and they watched it and were like, “We don’t understand who Steve Rocco is, or we don’t understand what a zine is, or we don’t understand this Natas guy?” So we did have to resolve things for a general audience, but also balance it with something a diehard skater would be interested in. It’s hard to juggle those two sometimes.
So how long have you been a fan of the Bomfunk MCs?
That was a song that drove me insane. Now I like it, I’ve got to be honest, I’ve come around, but the theme song is something Jeff had been trying to use. He had this song and was like, “Check this out,” and I was like, “I hate it. I don’t like this at all.” It sounded like Prodigy or something to me. And Sean was like, “Oh yeah, he tried using this for the Wildboyz theme.” Jeff has been trying to use this song on a project after project and it never works out. Now there’s been a couple of revelations that where something I didn’t like, I learned to realize this is cool because we’re in Jeff’s world, like his creation, and putting things in like that it becomes like Big Brother—this weird song becomes like part of the story. Plus everyone else liked it and I was the only holdout that didn’t. Now I’ve got to admit that I’m happy the theme song is the Bomfunk MCs' “Freestyler.” I like it now.
Big Brother has been around for ten plus years, do you feel like you covered the whole span of the magazine existence in 90 minute documentary?
No. I really wish Clyde Singleton was in it. I hear Pat Canale was interesting. Rosa, she wasn’t Big Brother, she was Shorty’s, but still a big part of Big Brother. There are a few people missing and it sucks, you know, but my theory is that there are always more outlets for people to learn more about those things. Like this interview, we can talk about Clyde, or Jenkem can do a thing about Rosa or the “Washed-Up Skaters” article. There’s all kinds of stuff that people can talk about elsewhere and it doesn’t have to all fit in one documentary.
At any point did you feel like you crossed into the Twilight Zone and became a part of the Big Brother staff?
Yeah, there were definitely a couple times. And of course I was a fan of the magazine, I read it from cover to cover every issue, so when [Chris] Nieratko sent in an angry email about something, at first I was bummed and then I was like, “Oh, this is sick, I’m in Nieratko’s world.” Their various little arguing and in fighting. I would be sitting there and Jeff would throw footballs at me, like almost at my head, but it was cool to time warp into a thing I was a fan of.
If there were to be a DVD version of this documentary, what would be your top three deleted scenes?
For sure the thing about the “Washed-Up Skaters.” It’s so funny, it’s like [Mike] Valley being still salty that he was on this washed-up skaters list. Ed Templeton talks about it, Tony Hawk talks about it, and it’s really funny. Vallely was still mad about it, but then he looks at the issue for the first time and he was like, “It wasn’t that bad.” If there was a DVD, I would probably demand Jeff buy me a plane ticket to North Carolina so I can interview Clyde Singleton, because he was hilarious and a big part of the magazine. The geographics and the budget kept us from really having him in the movie. It was regrettable, so I would add him to the bonus section. I’d like to give Clyde his own mini doc. And always more with Earl. I watched the video you made about Earl and I loved the dude. It’s hard to explain even why I’m a fan of Earl, but when I see him I get stoked. He’s just interesting. He’s a character from that time and he hasn’t changed. He still even dresses the same, I feel like he has blue-tinted glasses or something. He could use his own documentary. And Marc McKee is tough, because he’s really quiet on camera, soft spoken and a little odd, but he was such a big part of changing the way skateboarding is and was one of the owners of Big Brother. He did all those graphics, he changed everything, and he’s a little underplayed in the doc only because of how he talks on camera. Some of these big personalities make a bigger presence in the doc. Marc gets a lot of credit but he should get more because if he never existed could you imagine how skating would be? Especially on the art side. So I would include more on Marc. And Rosa. I’m interested in Rosa, because she was skateboarding first and probably only sex symbol ever. It’s interesting, people said some funny stuff about how much they liked her.
A short featuring Earl Parker directed and produced by Rick Kosick.
How did it feel getting invited to Robert De Niro’s house and having the TriBeCa film festival premiere the movie?
I was stoked. Jeff had mentioned at one point that we were going to try and submit this to some film festivals and I was like, “Oh my god, you’re so insane that you would think this movie would be in festivals.” Plus it was early on and I was still nervous how this was even coming out. It was kind of rough and wasn’t very far a long and he’s like, “Yeah, I’m going to submit to TriBeCa,” and I thought he was high. Like they wouldn’t have it. The fact they did, I couldn’t believe it. The only odd thing, and this is me personally, I wasn’t too shocked by the documentary. You know, I was pretty used to all of the poop and the Poocano, Johnny Knoxville shooting himself, and like satanic stuff, I’m kind of used to it. But because it got into TriBeCa, my wife’s mom was like, “Oh, I want to go.” So we invited my wife’s mom and then she told my parents. So my parents are like, “Hey, we’re coming to your documentary at TriBeCa.” And then my nephew came and my sister came and she brought her nephew. I didn’t think much of it, and I was like, “Oh, cool.” They wanted to see this doc, because it was in TriBeCa and it was on their radar. And then watching the documentary in front of a crowd… in front of my wife’s mom and my parents… and my nephew… it kind of made me realize how gnarly the documentary was. The whole time I’m thinking like, “Oh, my parents are seeing this,” and it was a definitely a new spin watching it through their eyes. It made me nervous the whole time. And that was a huge crowd at TriBeCa. It made it a way bigger event that I wasn’t expecting when we were working on it. That was trippy.
Patrick interviews cutting room floor casualty Giovanni Reda.
So you interviewed a lot of different people for this documentary, how did you decide who stayed in the picture and who hit the cutting room floor?
Seth Casriel, our editor who’s awesome, he made a lot of calls like that. I feel like he would get in there and edit everything and then I would watch it. A lot of the editing is sort of up the discretion of the editor in a way, because there was so much footage. I would interview each person for 45 minutes—and I’m not talking about Jeff and you and Sean—I’m talking about dudes who were in it only a little bit. It would get boiled down to like two quotes and there were a few people who were cut altogether—it sucks. But yeah, we interviewed so many people for like 45 minutes to an hour each, and when we got into the editing room obviously things had to go and it was tough.
Can you explain why this movie is only on Hulu, so everyone will stop asking why it’s not on Netflix?
Hulu paid for it. Companies like Hulu do that so people will subscribe to their platform and that’s how pretty much how any bit of media ever gets released. Like HBO pays for it and it’s on HBO. Or ABC pays for it and it’s on ABC. Well this one was Hulu. Hulu paid for it and it lives on Hulu. I feel like most people have Hulu. I already had Hulu, because I’m a cord cutter myself and I don’t have cable. I just have Hulu, Netflix, and HBO.
When Andy Roy’s video surfaced demanding to be in the movie, were you a little bit nervous that he was going to Google your whereabouts?
Actually, I was scared. You know, it’s weird, I knew he was joking, but there was a little part of me that still wasn’t sure. Like is he joking, or this serious? I was a little nervous. I was 80-percent confident it was a joke and 20-percent a little shaky.
Setting up the shot to talk getting shot with Johnny Knoxville.
So what are some of your favorite parts of the movie?
One thing that was tough… I love Johnny Knoxville and I’m a huge fan. He’s gnarly and a great guy and has a good presence with his voice. To listen to him tell the story about how he got his start and he had a baby and the baby motivated him to shoot himself for a stunt—it was interesting. But one of the problems with the doc is once Johnny Knoxville shoots himself in the chest with a gun and a bulletproof vest, it was hard to then show anything after. It was basically like if it was a skate video and he filmed the last part, the after black hammer. I remember Dave Carnie and Chris Nieratko wanted more stuff in the movie from their years of Big Brother, and I had to be like, once Johnny Knoxville shoots himself I don’t know how we’re going to show anything that gnarly. It was tough because everything is going to look lame after this dude does that. One of my favorite parts of the documentary is Johnny Knoxville narrating that stunt, and it gave it so much more intensity, so that’s one of my favorite parts. And we have Nieratko fucking with Ronnie James Dio right before that—that was so intense to watch that footage for the first time. Just being in the editing room and getting the tape and sitting through and watching it. That was my favorite zone of the documentary.
Looking back at everything, what would you have done differently?
I’m pretty happy with it. There were things I was nervous about and now that it’s released I’m not nervous anymore. It just makes me want to interview Clyde for something else or do something else with Clyde… it’s the one thing I regret. Other than that, I’m stoked on it. We all did our best. I also feel like if there’s anything missing, there’s the Big Brother book, there’s The Chrome Ball Incident with so much of Big Brother scanned in that you can find out more, or you can buy some of the issues on eBay. I don’t know, I’m pretty stoked on it.
In Los Angeles. Last Friday. And Saturday, actually, but that was more of a public affair, whereas the previous night was the VIP extravaganza (with an extra helping of the vaganza). Anyway, as always, here is a smorgasbord of people photos to pick through and feast upon, kind of like the fried macaroni and cheese balls that Cinefamily served up as eventide whore dervz… or hors d'oeuvres, I suppose, if you want to get all fancy-pants about it.
Dumb: The Story of Big Brother Magazine has since launched on Hulu and can be streamed on-demand in the privacy of your own home. Please be aware that this documentary features lots and lots of naughtiness, defecation, and full-frontal nudity—male full-frontal nudity—so maybe take Jeremy Klein's advice and not watch it with your mother. Historically speaking, Big Brother has never fared so well with the parental types.
Thanks again to Cinefamily and Hulu for pulling out all the stops on this West Coast event! Now on with the faces and traditionally dumb captions.
Left to right: Giovanni Reda may have wound up on the cutting room floor, but he was nominated to be the moderator of the post-screening Q&A; Johnny Knoxville was fresh off the boat from filming in South Africa; The Q&A panel consisted of almost all the mag's former staff, sans Chris Nieratko.
Left to right: Bret "Scan Boy" Banta with his twin-ish brother Bayard; Aaron "King of All Skate Nerds" with Mother Fuckin' David Deery; The Mansfield audio dudes.
Left to right: Rick Kosick curated a photography and ephemera show for the Cinefamily patio gallery; Keith "Blind Date" Hufnagel; Dave Carnie, Marc McKee, and Dimitry Elyashkevich anchored the left-side of the Q&A shitshow.
Left to right: Heather Lee Jones is now Heather Lee Dixon after getting hitched to Kenny; The one and only Earl Parker with Scott Manning, Jason Jessee, and the Carn Carn; Shanna Zablow Newton with the time zone-punched Chris Pontius.
Left to right: Longtime Dickhouse and Gorilla Flicks men Matt Kosinski, Barry Smoler, Seth Casriel, and Mike Kassak; Loomis Fall poses beside an original Wee-Man photo from 1995; Andy Roy did not have to goggle Dumb director Patrick O'Dell after all.
Left to right: Lionel Boyce makes a dwarf of Jeff Tremaine; Proud pee-er Kendra Gaeta and the barely present yet still accounted for Sean Cliver; The Beastie Boys were there! No, no they weren't. That's just Matt Probst and Josh Lingenfelter.
Left to right: Jason Shelton, Jason Searcy, and Bill "Not a Jason" Weiss; Duh, obviously; Photographer Tobin Yelland, artist Chad Muska, and musician Dave Roen cover all the creative bases.
(Photos by Rick Kosick and Jennica Abrams; courtesy of Cinefamily)
For those of you that don’t know anything about my work history, I’ve been involved in skateboarding for many years. I’ve been around it as long as I can remember and that’s how I got my start holding a camera.
I know what you’re thinking: Rick, you’re too big to be riding a skateboard. Believe me, I’ve heard all the jokes from just about everybody, like the bigger you are the harder you fall, which in most cases is true. Yes, I’ve taken many slams—some hard ones too—and I did finally get to the point where I said, “Fuck this, I’m over it.” I screamed, “I quit!” and that’s when I threw my skateboard into a wall in full Rick Rage™. I was really pissed off and knew I had to make a life decision: to put my skateboard aside, pick up a camera, and get behind the lens to start documenting all my friends. Eventually I got good enough to start shooting with the professionals, and all of that experience has lead me to where I’m at today.
Theologians and religious scholars will tirelessly war against the theory of evolution, but every once in a while it's scientifically proven that bodies do collide and will give birth to something new. Actually, this happens every day. It's called sex. Men take their private parts, rub them on a woman's private parts, there's an explosion—BANG!—and that's where babies come from. It's not a miracle by any stretch, but the mere fact that Big Brother skateboard magazine came to be and managed to exist for 12 years is almost as mind-blowing as a box of magnets. What few people understand about the magazine, however, is that the staff was entirely comprised of classically trained artists, and that's why I've chosen to interview myself about this extra special, extra arty release from Paisley Skates. This is, after all, the Age of Enlightenment*. —Sean Cliver
Sean: First things first, what is Paisley Skates?
Sean: Great question. Real journalism 101, Norman Mailer. Regardless, I'm glad you asked, because it's a snappy little skateboard company I co-founded with Paul Urich. Our first set of boards came out last November and we've somehow managed to release a few more since then, thanks in part, or possibly in whole, to a small collective of friends and like-minded thinkers, like Nick Halkias and Mike Pipito, who have generously donated their time, talents, and esoteric interests to accelerate the cause.
Whetheryouknewitornot,Tremainehasabigtimepersonaltrainer. His name is Ryan Nemeth and he recently wrote a "best-selling funny fitness book," HARDBODY: HOW TO BE ONE. Promo is as promo does, so I asked him some questions, he responded with some answers, and that's what is commonly known as an interview. Read on and prepare to get hard. So hard.
If I’m not mistaken a lot of celebrities provided you with tips ’n’ tricks for your book. Is there a specific reason you chose to exclude Tremaine from contributing anything?
By the time I started doing workouts with Tremaine the book was pretty much written. I did cite him in there, however, when I was saying how cool it is to train in LA. I mentioned that during sessions I'll get to help my client learn about physiology, exercise, and nutrition, and at the same time I'll get to learn about whatever creative business or art form they're involved in. For instance, during a workout I'll get to hear about a new script from Max Landis, or listen to Tremaine tell me awesome stories about filming the jackass or BadGrandpa movies or whatever project he's into next. I grew up as a huge jackass fan, forever my whole family was, and so working with him in any capacity is secretly so cool for me.
Using a hypothetical hardbody scale—with 1 being soft as a midwestern Jell-O casserole and 10 being hard as 15-day old bagel—how would you rate Tremaine?
I like that you're using old, gross, inedible food as the high-point on this scale. Jeff Tremaine is strong and has a lot of muscle on him. He's probably like a 5 or 6? It just might depend on many factors. Many of the people I feature in my book are not super crazy-fit muscle people. My definition of "hardbody" is someone who excels and kicks-ass at a certain craft or discipline. Maybe that's being in great shape, wrestling, or athletics, but it can also be comedy, screenwriting, music, singing. For that reason I was able to include many people in my life that I think are great examples of what it means to take risks and kick-ass at something: Dolph Ziggler, Seth Rollins, Serena Deeb, Chantal Claret, Big E, Max Landis, Brend Jennings, Matt Bennett, Xavier Woods, Charlotte—all these people. John Cena's personal trainer, a guy named Rob MacIntyre, has become my personal fitness guru over the last four years. Rob wrote the foreword to this book, and if that isn't the stamp of approval from the highest authority I don't know what is. He re-emphasizes in the foreword that a key message in the book is "fitness is simple." I love that. Because it really is. The only trick is, you have to actually do it. Simple does not mean easy! Short answer: Tremaine is a kind of medium- to medium-old bagel.
Social media maven, Gorilla Flicks cameraman, and man about the nightly LA comedy scene Rick Kosick recently sat down with Tremaine's limited attention span to chat about Swerved, his latest production now rolling out on the WWE Network, and what it's like to be in charge of pranking extra-large humans.
Kosick: What are you doing?
Tremaine: Living my life in a kick-ass fashion.
Well, at least someone is.
That’s right.
So how did you get involved with Swerved and the WWE?
For years we’ve done different things with the WWE. I’ve done a thing with Wildboyz, we’ve done a couple of jackass bits, and it’s always been a really fun thing to do, getting behind the scenes of the WWE. But they approached us and wanted a sort of a prank show: Superstars messing with Superstars. I was interested, having the little view that I’ve had on the inside of their world, and it seemed like a fun place to play. So we did it. And here we are. We’re talking about it now. It’s shot. It’s in the can. We survived.
Was making Swerved different from anything else you’ve done before?
Yeah, this show is different than the others in that it’s almost like following the circus around. We had to hide in plain sight in their world, and their world is always on the road. They’re in a different arena every night, and they eat, work out, travel. Eat, work out, travel—that’s their life. There’s not that many places we can hit them, so it’s been an interesting process. The best place has been mostly hitting them in the arenas.
Have all the Superstars been fun to work with? Any favorites?
Most of the Superstars have been fun to work with … a few of them don’t like us, but overall I’d say it’s been a lot of fun. Most of the Superstars have a really good sense of humor. They have to have a good sense of humor in this world or you wouldn’t survive.
Do you think you’ll be able to win over the ones that don’t like us?
No. Certain people don’t like being shocked. Certain people don’t like having poo-poo shoved in their face. So I don’t know if we’ll win them over. The thing about this show is that these guys have such a busy life and we’re messing with them on their tiny little windows of free time. So it’s sort of an inherently mean show, messing with these guys when they just don’t have time to be messed with, because they have to get to the arena, do their thing, get out, and travel to the next one. But we’ve been really lucky, and we’ve pulled off some really funny stuff on a good variety of these guys.
Who was the easiest to prank?
Well, at first everyone was easy to prank, because no one knew what we were doing. But as word started spreading around it got harder and harder. I’d say Zach Ryder got it the worst, because he got shocked and then he got this whole long pregnant thing after he got shocked, so he got it twice. And I wouldn’t have guessed we’d get him that second time, but sure enough, we did. I wouldn’t say that any of them are super easy to get … some are more gullible than others, but it really helps when you have a Superstar as an accomplice. Some of them are really good at lying to their friends.
Who have been some of your favorite accomplices on the show?
Dolph Ziggler, Kofi Kingston, Xavier McDaniel, Paige, Heath Slater, The Miz, Hornswoggle … yeah, everyone that has wanted to play has been awesome to work with.
Speaking of Hornswoggle, does it feel like you’re cheating on your own --
Yeah, it feels like I’m cheating on my little guy Wee Man when I shoot with Hornswoggle. It feels very familiar and he punches you in the wiener just like Wee Man.
Were there any Superstars you were nervous to prank?
Yeah, there’s a couple big dudes … like when we locked Ryback out of the venue, I thought for sure shit was gonna happen, because he’s a huge dude. And we certainly made Titus O’Neill who’s a large man mad. Yeah, some of these dudes are extra-large human beings, full of muscles. And hate.
So has this been a pretty fun experience working with the WWE?
I’ve had a great time working with the WWE. But I doubt they’d say the same about me.
Subscribe to the WWE Network to see new episodes of Swerved on Monday nights immediately following Raw at 11:00pm EST.
Every year, well, not every year but almost every year, we like to recommend a few items for your holiday gift giving needs and/or desires. This year is no different and for all I know it will feature a lot of what was recommended in years of holiday past with but a few new shits on the block. Regardless, similar to diamonds, jackass is forever with Wildboyz being the ultimate rush, the ultimate high! And with every emerging country in this world there is a whole new market to be tapped like a keg and drained of all monetary sense, because, after all, that is what the holidays are for: yule logs to keep the economic fires burning hard—so hard.
He may not have gold teeth, but he did win a golden award—an Academy Award, to be precise, so you know he's hardcore. He being Spike Jonze. Her being the movie he wrote and directed. Her will make you laugh at times, cry at others, but simultaneously make you ponder the fate of humanity as it dives down a technological rabbit hole of social self-absorption. It will also drop your jaw at the nifty job of Production Design through the creative eyes of K.K. Barrett. For classic Jonze kicks, though, you can always pick up his Director's Series collection of music videos and short flicks.
For all of us that worked and traveled on Wildboyz it remains to be our crown jewel. I believe Wildboyz may also be the standard by which all other shows on Animal Planet and Discovery measure themselves, but that may also just be me writing shit out of my ass. Whatever the case, Wildboyz was that next great evolutionary leap in nature programming, the likes of which transcended the classroom and graduated to theme nights at a prominent gay club in West Hollywood. Chris Pontius and Steve-O commandeered four seasons of Wildboyz in all, covering most all regions on the globe in a generally uncovered fashion, with a bevy of guest-stars including Wee Man, Johnny Knoxville, Mat Hoffman, Manny Puig, David Hasselhoff, and more!
Earlier this year Jeff Tremaine was enlisted to direct Travis Pastrana and Parks Bonifay in a series of spots for the new MasterCraft NXT 20. Having worked with both of them on MTV's Nitro Circus, Jeff was a natural fit and traditional mayhem ensued with blooper-like breaks of the "fourth wall". Here's a sample spot featuring Travis and Parks, but the whole video shebang can be found at: mastercraft.com/nxt