DiZinno: Daytona fence crash ripple effect could extend to other motorsports

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The prevailing mindset I had immediately following the wee hours of Sunday night, into Monday morning’s Coke Zero 400 at Daytona International Speedway was very simply, “they got away with one.”

After watching both the Verizon IndyCar Series’ MAVTV 500 at Auto Club Speedway last week and the NASCAR Sprint Cup Series Coke Zero 400 at Daytona last night (or early this morning), the stark difference between the type of racing at the respective high-speed tracks couldn’t have been more obvious.

For cries that the MAVTV 500 IndyCar race was pack racing… no, it wasn’t.

The typical restrictor-plate style of racing at Daytona, with upwards of 20-30 cars usually 10 to 12 rows deep either two or three-wide, had its usual consequences.

It again reared its ugly head, again ended with a car careening into the catch fencing in the final lap, and again showcased the immediate, obvious and persistent danger that exists from this type of racing.

And again showed how fine of a line that type of racing is flirting with disaster that could have far-reaching repercussions beyond the series itself.

From a pure carnage standpoint, Sunday night’s NASCAR race had four crashes involving eight cars or more.

Last week’s IndyCar race had three two-car crashes.

Sunday night’s NASCAR race went a full two laps before the first caution flag flew.

Last week’s IndyCar race didn’t see a yellow interruption until Lap 136.

The similarities are that both races ended with severe accidents, but their severity differed in magnitude.

The Ryan Briscoe/Ryan Hunter-Reay accident in Fontana ended better than it could have given how Briscoe’s car dug into the grass and flipped upside down before coming back down to earth. The likable Australian was OK, and even joked about tearing up a divot in a video posted mere hours after the race.

And likewise, the last of the “big ones” where Austin Dillon’s car was launched and almost thrown into the catch-fencing ended better than it could have, too. The car sprung back from the fence onto the track, and although some debris got through the catch-fence, it was not the magnitude that it could have been. Dillon emerged nearly 100 percent unscathed, save for a bruised tailbone.

Where restrictor-plate racing flirts far too closely with going over the line is in airborne accidents that launch cars directly into the catch-fencing.

Although IndyCar has had its share of airborne accidents this year, and that’s not a good thing, none have occurred in the same type of way that ones at Daytona or Talladega seem to occur: directly in front of tens of thousands of paying customers, fans, who don’t buy their tickets thinking they could become part of the story, or the action.

It’s happened way too frequently in recent years at Daytona. The Kyle Larson last-lap accident a couple years ago in the NASCAR Xfinity (then Nationwide) Series race that injured more than 30 fans should have been the trigger for change… and it wasn’t.

It came a year after Joey Coulter’s accident in a Camping World Truck Series race.

It came a year before Parker Kligerman’s accident in the tri-oval in practice for the Daytona 500.

It has now been exceeded in shock value by Dillon’s wreck, which clearly scarred the drivers from their post-race quotes.

The specter of fans being hurt, or worse, killed, is the single biggest story that could emerge from Sunday night’s race.

We live in an era where innocence getting attacked is the thing that sends shock waves down your spine.

It’s what’s happened in numerous national instances the last few years; it rarely inspires any change, but it should be enough to get you angry and want to shout loud enough about the situation that the right people that need to listen do so.

Sunday night’s NASCAR race was a NASCAR story that has tentacles extending to other forms of motorsport, and could affect them if they’re not careful or change before a major tragedy strikes.

For more reaction from last night’s race, head over to NASCAR Talk.

Vicki Golden and 805 Beer tell a unique story from an Inverted Perspective

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Vicki Golden has earned a career worthy of a thousand stories and 805 Beer tells at least one of them, as “Inverted Perspective” premiered March 30 on the company’s website and YouTube channel.

Golden did more to break the glass ceiling in SuperMotocross than she ever thought possible. She knows this because riders have never felt the need to explain any of her accomplishments with the disclaimer, “for a girl”. 

At this point in Golden’s career, she’s been the first woman to finish top 10 in AMA Arenacross Lites, the first woman to qualify in the Fast 40 in Monster Energy AMA Supercross and the first woman to compete in freestyle Moto X competition, earning a bronze medal by doing so.

Her love for moto came from childhood while she watched her dad and brother ride. By seven she was on her bike and making waves throughout Southern California. 

Golden, 30, is still madly in love with the sport and has no plans on moving away but her career is already one to talk about. 805 Beer’s film series wanted to do exactly that.

“I’m taken aback by it all,” Golden told NBC Sports about the documentary. “It’s just crazy to see your story, it’s one thing to live your life and battle everything that comes about but it’s another to just sit there and talk about it.”

805 approached Golden about the feature by asking, “Do you even realize that what you do, and your story is special?”

Golden took the question as a blank canvas to map out the highs and lows of her career and life. 

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The title “Inverted Perspective” came from a brainstorming session with Dominick Russo and it highlights Golden’s outlook on the sport of SuperMotocross and her life in general. 

“My whole life, my whole career was thinking differently and looking at things that shouldn’t be done and aren’t there, while being able to make a place for myself, where no one thought there should be a place,” Golden said.  “It’s inspiring someone to think in different ways. It sums up my life.”

Vicki Golden is not “fast for a girl”; she’s just fast. – 805 Beer

While Golden is no stranger to the spotlight, this was the first time she’s been fully involved with the storytelling and creation of a feature about herself. 

“It’s not like a full new experience,” Golden said. “Obviously, you get your standard questions about your upbringing and accomplishments, but I’ve never really put into perspective things that happened in my past with my dad and putting that to light. Also, certain other things that maybe got overlooked in previous interviews or films. I wanted to touch on these and Dom wanted to create a story. It’s just cool to see it come to light, it’s a nearly impossible thing to tell somebody’s life story in 40 minutes.”

Golden’s father was left paralyzed after an ATV accident, robbing him the opportunity to ride again. This happened a few months before the father-daughter duo was set to compete in the Loretta Lynn’s Amateur Nationals when Vicki was 12. While she might have been unable to grasp the severity at the time, it’s something she carries with her. Golden continues to ride in his honor.

Years later, an accident in 2018 nearly sidelined the then 25-year-old Vicki when a freestyle accident almost resulted in the amputation of her lower leg. 

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Golden 805 Beer
Vicki Golden has ridden a variety of disciplines in SuperMotocross, which gives her a unique perspective. – 805 Beer

“Inverted Perspective” highlights her father’s diligence in helping Vicki continue with her career and the kindness and strength he carried while fighting his own battle. 

“My dad was the entire reason that I started riding in the first place,” Golden said. “So, to honor his memory and to honor what we went through and how hard he pushed to keep our dream alive and keep everything going – in that sense then, it was really special to be able to honor him and talk about him.”

The 40-minute feature was filmed entirely in black and white, a stark contrast from the oversaturated world of motocross where the brighter the suit the easier it is for fans to find their rider and follow him in the race. By filming in monochrome Russo and Golden had the chance to focus on the race and track from a different perspective. 

“It was cool to be able to film it differently,” Golden said. “It created a challenge in the sense of what was going to be more visually impactful for the film.

“I couldn’t be here without the companies that back me but at the same time, it’s not like the logos or colors disappeared, it’s just different lights shed on different spots. It’s just a cool way to do it and to take color away and still be impactful. When you think of black and white, you think of old school, the OG way of doing things.”