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A Day At The Races

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While the history of NASCAR may lie in the bootlegging, blockade-running days of Prohibition in Appalachia, today’s races marry the sport’s moonshining, outlaw-racing origins with the modern world. Racing in 2019 invites folks to fly their own flags alongside the colorful and checkered symbols of its own, encouraging fans old and new to experience the excitement from all walks of life.

With a group of our own first-timers and favorite Richmonders, RVA Magazine took to the track last Saturday, April 13, for Richmond Raceway’s Toyota Owners 400, right here in our own River City. WWE star Mickie James, Municipal Waste’s Tony Foresta, rapper Nickelus F, Valient Himself of Valient Thorr, and rapper Michael Millions joined our team with a common purpose: Fast cars, big thrills.

PHOTO: Stuart Mauck

No two tracks may be the same, but Richmond brings something special to the table for both drivers and fans. Our track, smaller in comparison to multi-mile raceways like Talladega or Daytona, makes for tighter turns and higher difficulty (i.e., more fun). On the other side of the fence, Richmond Raceway has a yellow brick road of sorts, manifested in an access tunnel for the public that lets lucky fans catch the race from inside the track.

Among the lucky, our crew got to walk the “road under the road,” stepping out on the other side of the tunnel into the center of the infield.

PHOTO: Stuart Mauck

The newest adaptations of the cars, whose glory days of the 60s and 70s only pushed out about 250-300 horsepower, have more than doubled: Richmond Raceway’s track allows for cars that pack around 750.

Gearing up for the race, fans piled in from around the country as early as 6am last Tuesday morning. Campers, trucks, tents, and golf carts lined the fields around the raceway to tailgate and celebrate, with the same excitement that sparked with the sport decades ago.

RVA Magazine – Nascar 2019

With a special mural dedication before the race, NASCAR honored a treasured local artist, Sam Bass, who called Richmond his home and worked with the organization for years before passing away earlier this year. The mural, which can be found in the raceway’s media center here in town, drives home the importance of Bass to the racing community throughout the years.

The Richmond Raceway grounds are home to more than the track; they hosted events all weekend, including public Driver/Crew Chief Meetings, Toyota Thrill rides, Virginia Lottery giveaways, and a Craft Beer Fest full of breweries from around the state.

If you’re planning to hop in the Toyota thriller next time around, make sure you’re not weak of heart or stomach — in stock Camrys, fans can hop in with professional drivers to have the guts scared right out of them in twists, turns, burnouts, and close calls with the wall, all designed to bring your breakfast back up (and still have you jumping back in line for another round).

PHOTO: Branden Wilson

Down in the infield, pit crews line the track, while fans full of beer and Larry’s Lemonade gather at the gates to watch the action. Each car and driver are unique to their own specs, but experience reigns supreme.

PHOTO: Branden Wilson

“While the entry point for NASCAR might seem intimidating for first-time race-goers, the experience is unlike any other sport,” wrote RVA Magazine managing partner Landon Shroder following last September’s Federated Auto Parts 400 at the track. “And unlike other forms of motorsports, NASCAR is unique in that there is a certain level of egalitarianism to the way the teams are structured. What this means, in real terms, is that unlike Formula-1, the NASCAR team with the most money is not always likely to win.”

“For instance, NASCAR regulates just how big the engine can be, limiting the size to 358 cubic inches, restricting the amount of horsepower an engine can produce. This ultimately makes the racing experience more about driver competency, rather than dollars spent on high tech racing gear. Because of these rules, the leaders of the race change frequently – sometimes with multiple race leaders on a single lap.”

PHOTO: Stuart Mauck

Every point of the track during a race brings a unique experience to the table. From the infield, the behind-the-scenes area gives a personal look at crews working while drivers rush on around you. The Richmond Raceway has tickets for regular seating and infield access to open the thrill to fans of all kinds, and from above the track and along the straightaway, the speed of the cars can feel unbelievable as drivers accelerate by in colorful blurs with each passing second.

PHOTO: Stuart Mauck

Until you’ve seen it in person, the excitement of the days-long party that surrounds professional stock car races is hard to imagine in its full fire — and like all things Richmond, the raceway holds a part of our culture that can’t be found anywhere but here. With a case of beer in arm and a ticket in hand, a day at the track is an experience like no other in the River City.

The 400 race is returning this fall. We’ll see you there.

PHOTO: Stuart Mauck
PHOTO: Stuart Mauck
PHOTO: Stuart Mauck
PHOTO: Stuart Mauck
PHOTO: Stuart Mauck
PHOTO: Stuart Mauck
PHOTO: Branden Wilson
PHOTO: Branden Wilson

Indie Film Last Call Finds the ‘Twilight Zone’ In the Richmond Bar Scene

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*This article originally appeared in RVA Mag #36, on the streets now at all your favorite spots.

With a mashup of local idols as its actors and musicians, Richmond-produced indie film Last Call is a River City dream. Spearheaded by Richmond-based production team Aisthesis Productions, the film tells the story of a bartender who endures a tragic quest one night without ever leaving the bar — also named Last Call. The feature-length film was shot over the course of nine months, and its “Twilight Zone-Esque” mood depicts, according to director Tim Moehring, “a relatable theme of regret and what we can do to change our lives.”

Not only was Last Call filmed in Richmond, every aspect of its soundtrack has Richmond connections as well. The soundtrack was assembled by local musician Coldon Martin (Positive No), and features other Richmond acts Mekong Xpress, Sports Bar, and Tim Barry. Local thrash heroes Municipal Waste even grace the film with a live performance.

As a local crew with Richmond roots, it was important to Aisthesis to produce a locally-oriented film. To that end, Last Call’s action was filmed inside a popular Richmond hotspot, The Answer Brewpub. Situated on Broad Street in Richmond’s West End, the bar is renowned by locals and national beer enthusiasts alike. The reason for choosing it for the film was simple. “We wanted the bar to be believable, a bar everyone would go to,” said producer Monica Moehring.

The Moehrings were both born and raised in Richmond, and continue to base their work here. “I’m lucky that my partner in life is also my partner in art,” said Tim Moehring. “Whether we’re writing together or discussing production details, we share an artist’s vision and the insane energy it takes to actually do it. I wouldn’t have it any other way.”

Together, Tim and Monica Moehring lead Aisthesis Productions. However, the company is firmly a group effort; throughout the process of filming, the couple strove to account for each worker’s viewpoint on the results. Understanding that filmmakers tend to butt heads within the industry, the Moehrings want to be sure they do their work surrounded by those they get along with.

For that reason, it’s no surprise that the Aisthesis team consists of the couple’s friends — an extra-localized situation that helps create a friendly and inclusive atmosphere within the production team.

When putting Last Call together, the creators weren’t interested in playing it safe. “For all of the production design and detail we wanted the audience to ‘feel’ things with us, from arousal to nausea,” said Monica Moehring. “The music, the lights, the acting, and everything had to feed into that.”

For Tim Moehring, pacing was of particular importance. Throughout, he strove to make sure that the story unfolded in a manner that would create the mood and tempo he wanted the film to have. For Monica Moehring, this sometimes meant obeying the classic literary advice from William Faulkner: kill your darlings. “The playwright in me is long-winded,” she said. “I think there was more heartbreak in the writer’s room than the editing room.”

To cast the film, the Moehrings turned to local actors that have been working with Aisthesis for years. Indeed, the film was written for the actors who were eventually cast. “Lines are crafted for the specific talent we’ve chosen,” said Monica Moehring. Lee Reynolds plays the bartender in Last Call, a complex character who devolves on screen as the story unravels. According to Tim Moehring, Reynolds “gave us 110%. He truly gave his blood, sweat, and tears bringing this character to life.”

In its Twilight Zone state-of-mind, Last Call largely derives its mood from the 1950’s TV show, suspended somewhere between reality and fantasy. The classic series is best known for its unforgettable shocking moments, but beneath the obvious elements of weird fantasy and horror lies an unexpected, but important, moral vision; one that’s given weight by the series’ particular approach to cinematography. The Moehrings worked to achieve a similar cinematic effect through close collaboration with director of photography Doug Bischoff, who Tim Moehring calls “a master of his craft.” Explaining the atmosphere they sought, Tim Moehring said, “We wanted to transport the audience into another world with this movie — the world of Jason, the bartender who has always been the life of the party.”

Even low-budget independent films take tons of effort and funding to create, and Last Call is no exception. “A film doesn’t just fall into your lap,” said Tim Moehring. “There are a lot of moving pieces and preparation is the key. Luckily we had people like Will Towles and Saskia Price making sure all the moving pieces kept moving! We didn’t settle on any details, and that didn’t come easy. It meant rehearsals, and rewrites, and hours of production meetings.”

“When you’re watching a movie, you’re seeing the puzzle completed,” said Monica Moehring. “You’re not seeing the ten million pieces that had to be put together.”

As yet, Last Call has no set release date; however, its trailer is viewable on YouTube. It’s sure to get local film, music, and craft beer fans chomping at the bit.

Photos by Glenn Cocoa

Toxic Boombox: Weekend Playlist by Tony Foresta of Iron Reagan and Municipal Waste

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Every Friday night, RVA Mag drops one scorcher of a playlist curated by Virginia’s most influential artists, musicians, and institutions. As your witching hour circle pit gains velocity make sure to lay waste with thrash legend Tony Foresta of Iron Reagan and Municipal Waste’s weekend playlist: A playlist tightly packed with all of the essential ingredients needed for a weekend rock and roll fiesta of the highest order.

Be sure to check out and pre-order Iron Reagan’s new five-song EP, “Dark Days Ahead,” on Pop Wig Records, dropping October 12.

Cover Photo by Steve Krandel

 

Music Sponsored By Graduate Richmond

 

RVA MAG EXCLUSIVE: Tony Foresta from Municipal Waste interviews Mayor Levar Stoney

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Politics is always at its best when it can be accessible to everyone. A person should not have to be a journalist, hold a PhD in political science, or be linked to special interest to have a candid conversation with their elected officials about what is important to them. Knowing this, having a mayor in Richmond that understands the benefits of forging a sustainable relationship with the arts, culture, and music community is worth something.

Which is why Tony Foresta from Municipal Waste / Iron Reagan interviewing Mayor Levar Stoney is so fucking awesome. Because both are innovators and sometimes the best conversations are spawned by bringing diverse people together.

That’s not to say that Stoney should get a pass on the endemic challenges this city still faces over public education, transportation, race relations, or economic opportunities. Quite the opposite, yet as we try and make sense of the endless complexity of today’s politics being able to facilitate dialogue in unexpected places allows us to conquer the perceptions and divisions that constantly hold us back.

Given the intersection of politics and culture these days, RVA Mag wanted to make the rest of the questions available to our readers. Stoney’s take on the art and food scene, his favorite music, the Redskins, and even the white supremacist incident in Charlottesville all cast a light on how Richmond’s new leaders are evolving and adapting to the current conversation.

INTERVIEW

Tony: Why do you think creative people from D.C. and Virginia Beach move here?

Mayor Stoney: You don’t have to deal with the rat race you may have in northern Virginia and D.C. People move to cities and places they think they can relate to. Here, I think we can relate to just about anyone. You come here for the tech industry, you come here for the arts, or for government and education – we have all that. My job as Mayor is how I go about keeping them here. So when they get older, like me, do they decide to stay in the city or go somewhere else? I want them to stay right here. They’ve all had other cosmopolitan experiences. They’ve been to DC, Boston, or they’ve been to San Francisco, but they live here – they reside here. That’s because of all we have going on for ourselves.

You may not know this, but last week the Wall Street Journal did a story which had Richmond on the list of top cities with the highest concentration of 20-29 year olds – we were number six on that list. It was Madison, Pittsburg, Salt Lake City, and Boston. That’s huge. That says a lot about the future of Richmond.

Tony: Straying away from the arts, let’s talk about sports for a second. You’ve been a supporter of the Redskins Training Camp in Richmond while most of the candidates you ran against were not. You said you wanted to get more bang for Richmond’s buck. How have you been going about doing that since spring training is right around the corner?

Mayor Stoney: I’ve had a number of meetings with the Redskins. I told them, ‘You know what? I know you want to be in Richmond, we want to keep them in Richmond, but the only cost can’t be on the city and its residents. There has to be a cost for you all as well because this is a great place.  We’re still in conversation about how we can work out the current deal. I actually inherited a deal that was made already. I don’t think I would have made the deal the same way, but we’re working on ways where we can change the current outcome and I’m optimistic.

Tony: So, I’ve seen you around town a lot. We’re just talking about restaurants where you like to hangout. You go out in the evenings and support local businesses.

Mayor Stoney: I do. I hold a lot of my meetings in local restaurants.

Tony: So, what are your spots?

Mayor Stoney: Rogue Gentleman is up there, Saison is up there, actually I like Bacchus every now and again. Roosevelt is also a great spot for me, you may catch me there or Fat Dragon.

Tony: I saw you at Dinamo, though. What’d you think of Dinamo?

Mayor Stoney: Dinamo’s food is delicious. I don’t cook, I’m single, so when I go home around 8:30 – 9pm, I’m like, ‘let’s go somewhere, pick it up, and go back home.’ That’s kind of how my evening goes.

Tony: He’s single, you heard that. (joint laughter)

Mayor Stoney: No, I’m married to the City of Richmond, wedded to the City of Richmond.

Tony: Oh, smooth. This guy.

Tony: This is a legit question, which just came to mind. You were talking about how important the arts were to Richmond. I see Richmond as a younger version of Austin, Texas, but the problem with Austin is that everything’s getting pushed out. Arts are what made Austin what it is, and it’s such an important place.

Mayor Stoney: I’ve heard it. I was in Las Vegas this past week and a lot of people said, ‘Richmond reminds me of a younger version of Austin.’ When you think about places like Austin or San Francisco or New York or whatever, it kind of prices out the creative class.

Tony: Exactly, it takes away from the culture.

Mayor Stoney: One thing I recall, the whole open fire at the Ghost Ship and the reason for that was the affordability for housing in Oakland. The same thing is happening in places like San Francisco as well. I’m always saying, ‘How can we avoid a situation like that?’

I think when people want to go to the city and engage in our art scene and arts community this is where they want to come. Henrico’s great, Chesterfield’s great, but I want to keep the talent we have in the city. There are artists in our region that live out in Henrico and Chesterfield, but if they want the full effect, it has to be right here in the city.

Tony: What if something erupts here, like in Charlottesville, like the white power [demonstration]?

Mayor Stoney: Someone asked me a question similar to that the other day. That was the most overt racist act I’ve seen in a very long time. It was reminiscent of the early 1900s, ‘20s, and ‘30s, just minus the robes and the hoods. I’ve never seen anything like it before.

I think the response has been appropriate in Charlottesville. They’ve done a great job driving the conversation after something like that happens. Charlottesville, just like Richmond, is an inclusive tolerant place that embraces diversity. They’ve stood up and said, ‘We’re not going to allow or tolerate this sort of nonsense in our city.’ At the end of the day, if we still want to be in the competition game for millennials, for young people, and for newcomers in general, they’re not going to go to a city where those sorts of acts are tolerated. That’s not the sort of city Richmond is. It may have been in the past, but we’re writing a new chapter here in the city together.

Tony: So, I’m about to leave for two and a half months with my band Municipal Waste.

Mayor Stoney: Vegas, Vancouver?

Tony: Vegas, Vancouver, and then I come home for a few days, then a full U.S. tour for two and a half months. So, is there any way you could appoint me to be Richmond’s party ambassador?

Mayor Stoney and Tony:  (joint laughter)

Tony: Can I get like a sword or a cape or something?

Mayor Stoney: Like knight you [makes knight gesture]? You want a key to the city or something like that?

Tony: So, yeah. Appoint me?

Mayor Stoney: I thought you already had a job.

Tony: Yeah, sometimes.  (more laughter, high five)

Mayor Stoney: Thanks, Tony this has been great.

Tony: Thank you very much, its been an honor. Cheers.

Video produced and edited by Charles Rasputin, creative director of AP Math

Iron Reagan drops new, locally shot video for ‘A Dying World’ ahead of tonight’s Broadberry show

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RVA’s Iron Reagan are back with a messy new video shot and produced here in Central VA, and if you look close enough you might see you or your friends face getting smashed.

Shot, directed and edited by local filmmaker Dennis Williford, “A Dying World” includes shots from the president head graveyard as well as footage from recent shows at The Broadberry.

Nestled out in Croaker, VA, the president head graveyard is full of massive busts of 43 former presidents that were once part of a for-profit museum, Virginia’s Presidents Park, once located in Williamsburg a few blocks from Busch Gardens.

The busts have since been retired to the farm of Howard Hankins, who Dennis worked with to get permission to film on site.

The band rolled up and set up and performed the track with the ominous figures just a few feet behind them.

It was technically Williford’s first music video, but it was far from his first time behind the camera. You might know him from his skate videos under titles like Toxic Turds, https://rvamag.com/articles/full/25032/local-skate-video-bum-wine-gets-byrd-theatre-debut-94, often featuring local skaters like Trent Hazelwood.

“I brought all my equipment and I was like “what can I do too make the president head thing pop more” and so I got a drone,” said Williford. This gave birth to the number of high-flying pans that swoop over the band as they proceed to melt the collection of presidential faces behind them. This was his first time filming with a drone and it only went terribly wrong a few times… including the closing shot with pits the drone against Roosevelt’s mustache. The drone lost.

“A Dying World” is the opening track off of Iron Reagan’s newest album, Crossover Ministry, which dropped earlier this year and totally and utterly rules.

The video’s release is so perfectly timed with tonight’s Iron Reagan show at the Broadberry, so get out there and recreate some of that pit by snagging tickets here!

Words by Brad Kutner

Municipal Waste/Iron Reagan singer Tony Foresta has his own hot sauce now

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There’s just something about Richmond metal that lends itself to condiments. Two years after GWAR brought out their very own GWAR-B-Q Sauce, Tony Foresta of local thrashers Municipal Waste and Iron Reagan has joined up with Tears Of Joy Sauces to bring the world his very own hot sauce!

[Read more…] about Municipal Waste/Iron Reagan singer Tony Foresta has his own hot sauce now