Travis Barker Presents: MUSINK a Three-Day Tattoo Convention, Car Show & Concert

TRAVIS BARKER PRESENTS: MUSINK

THREE-DAY TATTOO CONVENTION, CAR SHOW & CONCERT
MARCH 17, 18, 19 AT OC FAIR & EVENTS CENTER IN SOUTHERN CALIFORNIA
WITH PERFORMANCES BY NOFX, THE USED, BAD RELIGION, PENNYWISE & MORE
TICKETS GO ON SALE WEDNESDAY, DECEMBER 7 AT 10:00 AM PT
WITH SPECIAL $35 SINGLE DAY TICKETS, WHILE SUPPLIES LAST
The 10th annual MUSINK, presented by Travis Barker, is set for March 17, 18, and 19, 2017 at the OC Fair & Events Center in Costa Mesa, CA. The three-day tattoo convention, car show and concert is America’s largest tattoo and music festival, featuring hundreds of world-renowned tattoo artists, Famous Stars and Straps presents the Low and Slow Car Show, a vendor village and music from headliners NOFX, The Used, Bad Religion, Pennywise, and more.
A limited number of discounted early bird tickets for MUSINK will be on sale this Wednesday, December 7 at 10:00 AM PT, while supplies last. Single-day, full weekend 3-day passes, and a selection of VIP ticketing options will also be available for purchase. Tickets can be purchased and additional ticketing information can be found at http://www.MusinkFest.com.
MUSINK producer Travis Barker says, “Stoked to be bringing in the 10th year of music, tattoos and cars with such legendary bands as NOFX, Pennywise, Bad Religion and The Vandals.”
NOFX’s Fat Mike explains, “When I have a cold I like to listen to Muse and take lots of Zinc. So when I heard of the MUSINK festival I got stoked! “We gotta play it!” Unless of course, I get sick.”
Fletcher Dragge of Pennywise says, “Couldn’t be more stoked to be back playing MUSINK, one of the best festivals in Southern California, if not the best! Tattoos, music, cars, bikes, and never ending booze? How can it get any better? Always an insanely great party with good friends, awesome tattoo artists, and some of the best bands on the planet. It’s a no brainer! See you in the pit, fools!”
Dan Whitesides of The Used comments, “Hey everyone! We’re so excited to be playing MUSINK in 2017! Travis Barker and company have been so kind as to ask us to play and we couldn’t be more pumped! MUSINK is our first show back from being in the studio where we will be recording our new album. We love Orange County, LA and the surrounding areas so much, so please join us and get yourself a USED tattoo on your forehead while you’re at it. See you soon! Love, Dan”
The current music lineup for MUSINK is as follows:
Friday, March 17: NOFX, The Vandals, Lagwagon, A Wilhelm Scream
Saturday, March 18: The Used, Glassjaw, Goldfinger, Story of the Year, Hell or Highwater
Sunday, March 19: Bad Religion, Pennywise, Swingin’ Utters
The MUSINK tattoo convention will feature hundreds of world-renowned tattoo artists. Specific tattoo artists that will be inking are viewable at http://www.MusinkFest.com. In addition, the MUSINK vendor midway will include dozens of vendors.
MUSINK attendees are invited to check out Famous Stars and Straps presents the Low and Slow Car Show, which will display some of the best American classics and lowriders in Southern California, including some from Travis Barker’s own collection. Daily tattoo contests will take place during the car show as well.
Ticket prices are as follows:
Early Bird Single Day: $35
Early Bird Weekend Pass (3-Day): $99
General Admission Single Day: Starting at $45
General Admission Weekend Pass (3-Day): Starting at $120
VIP Front Of Stage & VIP Lounge:
$129 (per day, only sold as a single day option)
– 1 VIP Admission Ticket to day of choice, which includes access to: Music Concert, Tattoo Convention, Car Show, and Vendor Midway
– Access to Premier VIP area near the front of the stage
– Access to the Exclusive MUSINK VIP Lounge (21 & over only), which includes: complimentary beer & signature cocktails (while supplies last), several shaded areas to sit and relax, additional food & drinks available for purchase
Travis Barker Ultimate VIP Meet & Greet:
$299 (per day, only sold as a single day option)
– 1 VIP Admission Ticket to day of choice, which includes access to: Travis Barker Meet & Greet, Music Concert, Tattoo Convention, Car Show, and Vendor Midway
– 1 VIP Travis Barker Meet & Greet Laminate
– Access to Premier VIP area near the front of the stage
– Access to the Exclusive MUSINK VIP Lounge (21 & over only), which includes: complimentary beer & signature cocktails (while supplies last), several shaded areas to sit and relax, additional food & drinks available for purchase
– Travis Barker Meet & Greet Includes: Group Meet & Greet with Travis Barker, one on one photo, and one signed item (at designated time), limited edition MUSINK poster, one pair of exclusive Travis Barker Drum Sticks
All ages are welcome, and kids 7 years old and under get in free.
MUSINK hours are 3:00 PM – 10:00 PM on Friday, March 17, 12:00 PM – 10:00 PM on Saturday, March 18, and 12:00 PM – 9:00 PM on Sunday, March 19.
MUSINK 2017 is produced by Bill Hardie, Travis Barker, John Reese of Synergy Global Entertainment (SGE), and Sean Akhavan.
The OC Fair & Event Center is centrally located in Southern California, just off the 405 and 55 freeways at 88 Fair Drive in Costa Mesa. The venue is convenient to all in Orange County, as well as Los Angeles, San Diego, San Bernardino and Riverside Counties. John Wayne Airport in Irvine, CA is also easily accessible for those traveling from other parts of the U.S. and the world.
For more information on MUSINK, please visit:

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LAIKA’s Travis Knight & Arianne Sutner chat about creating “ParaNorman”

Travis Knight is the CEO/President/Lead Animator of LAIKA, which is the animation studio behind films like “ParaNorman” and “Coraline”. Arianne Sutner is the producer of “ParaNorman”. “ParaNorman” is the latest film from the studio and will be released on Blu-ray/DVD combo pack on November 27th, 2012. Media Mikes had a chance to chat with Travisa and Arianne about their work with stop-motion and what they have planned next.

Mike Gencarelli: Arianne, you’ve been working in stop-motion since “The Nightmare Before Christmas”, what is it that draws you to this medium?
Arianne Sutner: When I was starting out I was always a fan of animation and family movies. I was working in the Bay area and the movie that was happening around that time was “Tim Burton’s The Nightmare Before Christmas”. Part of it also was that you get to work on the project for a long time and it was still very new at the time and very exciting. When I started working in that environment, I just love that you create everything by hand. There were these fantastic stages that you get to work on and also the fact that it was this collaborative process. You really get to feel everything and get very involved. I really fell in love with it. I worked at other places like Pixar, in their beginning and they are making fantastic movies. But it is the experience of working on these movies that I love so much and the kind of people that are drawn to them. I always say that it is really fun and Travis says that I am crazy, which is true. You really get your hands dirty and get to collaborate and with some real great artists.

MG: Travis, How does the LAIKA President & CEO also end up being the lead animator on projects like “Coraline” and “ParaNorman”?
Travis Knight: I have been an artist my entire life. I fell in love with stop-motion, since I was child. Ultimately, I wanted to figure out how it was done before the internet or animation schools etc. So I was just learning by practice. It is something that has been a part of my life for 30 years now. I was an artist long before I was an executive. I have described myself as an artist trying to find his inner-executive. As I have been trying to move the company forward, it was always important to me as I began the process of building the company that I never lose the direct connection with the work because it’s what it is all about. It is why we do this. It is why we got drawn to creating something of great beauty. It is something that is critical to me. I think also to have the head of the studio in the trenches with all the other artists and filmmakers, rolling up my sleeves and getting my hands dirty and being a part of the creative process helps to define the sensibility of what the company is all about. We really are all about finding a beautiful way of telling these classic stories in this extraordinary art form of stop-motion.

MG: Arianne, You took on the role of producer in “ParaNorman”; what was your most challenging aspect?
AS: I think it is to make sure that the script we got was so beautiful, so well picked, so ambitious and overall something that was really special that had various different layers. Also that it was at the same time entertaining and had certain messages that we believed in. We wanted to make sure that it brought to life the way that Chris (Butler) intended it. While also making sure that we met Travis’ standards and to have the best stop-motion animation in the world. I think that was my biggest overall challenge that I was reaching for everyday.
TK: Arianne is fairly humble. She really is like a little marvel. She held the entire production on her shoulders. Every day some new crazy challenge was thrown her way and she handled all them with this amazing grace. The fact that we brought this extraordinary film on time and under budget is a testament to her leadership.

MG: Travis, How does the production on “ParaNorman” differ to “Coraline”?
TK: With “Coraline”, it was the first film that we had done from the ground up. So everything was new. We were forging new ground. In some ways we didn’t know better. We had really grand ambition and wouldn’t accept the fact that we couldn’t do certain things with conventional stop-motion, in the sense of what you can do in this medium. So that meant incorporating technology that wasn’t done before. The natural enemy of stop-motion, this age old craft, is technology. We decided to embrace technology and to bring that forward as part of the process with digital capture systems, 3D photography, laser cutters and rapid prototyping. That way we were able to embrace the machine in a way that hasn’t been done before. It allowed us to expand the scope of the movie. We built on that to an incredible extent for “ParaNorman” and we took it even further than we could have imagined for “Coraline”. I think that process of innovating to tell incredible stories in this medium by fusing those two aspects together, art craft and technology, led us to a place where we can really seize our ambitions and see them realized on the big screen. When you look at the evolution in the visual stylization in the technical execution between “ParaNorman” and “Coraline”, it is fairly remarkable that it happened in only three years.

MG: Why do you think that stop-motion films tend to deal with darker subject matter?
TK: That is an interesting question. We can’t fully appreciate what that means until we see how the thing plays out in the fullness of time. I think when you look at the history of stop-motion film; there is a very small amount of films made in this medium. You can attribute about half of them to two guys, Tim Burton and Henry Selick. They have this dark gothic sensibility. When these guys make the films they want to make…they make them. I think you can look at our films and they don’t have that sensibility. They have this warmer sensibility that is distinctly British but is all very entertaining. So I think you need to look at those two things and see that there is nothing inherently creepy or dark about stop-motion. I think also when you have an inanimate object that is brought to life by the hands of an animator; there is something weird about that. They move is this weird jerky kind of way, which does gives a certain creepy feeling. One of the things that we have been trying to do at LAIKA is to really take the performances in the animation of these stop-motion puppets to an entirely new level and make them feel very human. So that people can connect with these emotional characters on the screen. It is really difficult to do that in stop-motion. I think it was important us to get over that hurdle of making these things creepy. I think you can certainly see with “Coraline” and “ParaNorman” they share some DNA in common. Moving forward, I do think that it is important for us at LAIKA to expand what we do and that is telling different kinds of stories in different kinds of ways. So when you see the next handful of films from our company hopefully they will not look or feel like anything we’ve done before.

MG: What’s next in the cards for LAIKA?
TK: We are very selective on the project that we take on. Currently we do have about ten projects in various forms of development. It is a combination of things that are adaptations of literature and original projects. “Coraline” was an adaptation of a Neil Gaiman novel and “ParaNorman” was an original idea. These things take a long time to make since the pace is graceful. There was about three years between “Coraline” and “ParaNorman”. There will be about two years between “ParaNorman” and our next film. We are trying to truncate the time period, so ultimately we are on an annual release schedule and releasing a film every year. It is a challenge and is difficult to do that but it is something that we are shooting for. But that is path that we are aiming for.

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Travis Pastrana talks about film “Nitro Circus 3D: The Movie”

Travis Pastrana is probably best known for his multiple X-Games Gold medals in motocross and as the face of “Nitro Circus”. Together with his fearless crew of daredevils they released their first full length feature titled “Nitro Circus 3D”. The film documents the crew’s adventure and antics as they make their way cross country to perform in the first ever “Nitro Circus Live” event. The film was recently released on Blu-Ray and DVD and Travis took time out of his busy schedule to talk with Media Mikes about the making of the film.

Adam Lawton: How did you first get involved with Gregg Godfrey and Jeremy Rawle?
Travis Pastrana: Gregg has been a motocross guy for a long time. He was actually working as a key grip on “Touched by an Angel” and in his off time he would work on motocross stuff. The first time I met Gregg was at a event in Las Vegas when I was 11. A few years later I met him again and he asked if I could choose to do any type of what would it be. I told him that I wanted to jump the Grand Canyon with a parachute on my back while doing a back flip on a dirt bike. The day before my eighteenth birthday I got a call out of the blue from Gregg asking if I wanted to still do that. He offered to pay for my sky diving lessons and to bring me out there. We shot that for “Global Addiction” and the following year we started “Nitro Circus”. He gave me a camera and we just started shooting and editing things. Gregg left being a true Hollywood guy and we traveled all over making motocross films. Jeremy Rawle came in two years later as we needed someone who knew about music rights and all that kind of stuff.  Gregg had gotten in to a bit of trouble for using some music he didn’t have the rights so that’s how Jeremy got involved. We had known him as he was a skier and motocross guy. We are kind of a hodgepodge crew but its fun.

AL: Whose idea was it to do a full feature length film?
TP: We had all wanted to do something like this for a long time. MTV came to us and asked initially if we wanted to do 20 episodes of the “Nitro Circus” television show. All of us with the exception of Street Bike Tommy who is still hanging sheet rock have just so much going on we didn’t have the time. A few of the Nitro guys worked on the “Jack Ass 3D” film and they came back and said that the 3D cameras were there and we had the chance to do something that had never been done before. The television stuff lost some of the bigness when it was transferred down so Gregg was like “Let’s do it”. He then went out to try and secure funding. No one wanted to take on the liability or pay the additional 5 million dollars in insurance. We ended up making the film on our own which allowed us to do whatever we wanted to do. If we thought something would work we tried. A lot of things didn’t work while a lot of stuff did. We just had so much fun traveling the world.

AL: How long did the open sequence of the film take to put together?
TP: The two things that cost the most and took the most time were the opening and closing scenes. They ended up changing what was originally supposed to be the closing scene to the opening scene. We learned quite a bit from making this film and we pretty much know what we are doing now. (Laughs) We had originally planned out the entire film however I ended up getting hurt before we shot the big finale. Everything had been geared towards this one stunt and in the bonus features you will get to see all this footage and things will make more sense. We had to change the whole movie around due to my shattered ankle but I think it actually works better. We were able to have all the guys from the “Nitro Circus Live” tour be in the film and that helped fill out the story.

AL: What was the most difficult part of making the film?
TP: To be honest the film was nothing but fun to make. We were able to come up with the funding by a lot of us putting up our own money to get this made. We were all ok with doing that. The distribution part of things I think was the hardest. The only people who seemed really excited about the project were those with kids. There was just no precedence and “Nitro Circus” isn’t like “Jack Ass”. We told them that we are not like “Jack Ass” as we are not hurting ourselves for amusement. We are a group of athletes that are doing some stupid stuff but it is different. We put in 6 million dollars to get the film made and then another 6 million to advertise the film. 3 million of that was just for the 3D cameras. The film essential cost 4 times what it should just because that’s how things work. Are goal was to make a really good film and I think we have done that.

AL: What do you think was the scariest part of shooting?
TP: There were quite a few. Most of them involved Aaron
“Wheels” Fotheringham. That guy is such an inspiration. He came to me at one point as he was pretty bummed that a lot of crashes and stuff didn’t make it in to the final cut of the film. I hate to break it down this way but Jolene crashed a lot and we couldn’t use all of them because she’s a pretty girl and it’s not funny to see a pretty girl crashing all the time. It’s also not funny when a guy in a wheelchair crashes. It makes you sad. During one stunt Wheels was partially knocked out and he started singing “My Little Butter Cup”. It was hilarious but we just couldn’t put it in. Those were some tough calls to make but it is what it is.

AL: What other things do you and the rest of the Nitro crew have in the works?
TP: Well Tommy is still hanging sheet rock. Jim had a real bad crash that has taken him out of active sports. He has a real good job and everything but he probably won’t be able to perform BMX anymore. Jolene has been doing stunts on movie after movie. She was one of the stunt drivers in the latest “Batman” film. She is doing a great job in that industry. Erik Roner has been skiing and picked up where he left off with that and his base jumping. For me NASCAR has been really big as well as Rally-Cross.

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Travis Van Winkle talks about new film 247°F

Travis Van Winkle is the co-star in the new horror/thriller “247°F” with Tyler Mane and Scout Taylor-Compton. Travis is also known for his work in “Transformers” and “Friday the 13th” remake. Media Mikes had a chance to chat with Travis about his new movie and also got a tip on his new pilot with Michael Bay called “The Last Ship”.

Mike Gencarelli: Can you tell us how you got involved with “247°F”?
Travis Van Winkle: I got a call one day from the casting director to see if I wanted to fly to Georgia. I think one of their guys had fallen out and my friend Michael Copon who is also in the film mentioned my name. They looked at my stuff and I got a call the next day

MG: What was it about the role that made you want to get involved?
TVW: As soon as I found out what it was about I figured I could handle sitting in a sauna for 3 weeks with pretty women in their underwear.

MG: How was it working with Tyler Mane and Scout Taylor-Compton?
TVW: It was great! They are great people. It’s really nice to work on a project with great actors. Those guys are wonderful human beings.

MG: Do you have any stories from shooting?
TVW: I remember sitting in a room that was not hot. It was just a stale cold room. Before each take they would spray us with baby oil and cold water. That didn’t really help us with the scene where we were supposed to appear hot. The physicality that happened in there was pretty intense. There was glass that would not break, I slammed my finger at one point and then I had to lift that furnace. Those scenes are fun as an actor. I told the director I was going big and if he had to bring me down he could.

MG: What do you enjoy most about working in the horror genre?
TVW: We all feel pain however in real life you don’t get the chance to go to extremes where your thrown on a hay bale spike or pick up a hot furnace. We don’t get a chance to do a lot of these intense things. To be able to create and do these types of things is fun. It’s almost like an accentuated version of life most people don’t get to experience. It is quite a ride!  You don’t know how the hell you are going to do these things because it has never happened! As an actor it’s fun to think and explore how you would react in certain situations.

MG: What’s your preference between shooting TV and movies?
TVW: I love working since that’s where it’s at. Films have your for however many days where you just hammer things out. You get a chance to explore with a film as you are asked to improv more. The directors I have worked with in film have wanted me to just play and play. When it comes to TV there is more of a structure. A lot of writers are producers and they want their lines said. I understand and respect that. There are just different formats for each one. They are equally rewarding and satisfying. As an actor they are both playgrounds.

MG: Can you tell us about your upcoming television pilot?
TVW: Michael Bay has TV series on TNT titled “The Last Ship”. We just finished shooting the pilot but I am not sure how much I call really say anything more than that right now. 

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