Some critics of racing witlessly claim that spectators only attend to see someone die. This is utter and complete nonsense. I have been at numerous races where death is present. When a driver dies, the crowd symbolically dies, too. They come to see action at the brink: ultimate risk taking and the display of skill and bravery embodied in the sport's immortals like Nuvolari, Foyt, and thousands of others who operate at the ragged edge.

I have spent--or wasted--my life around motor racing: driving, promoting, and writing about what Ernest Hemingway once linked with mountain climbing and bull fighting as the only true sports. The rest, he sniffed, are merely games.

To be sure, [NASCAR] stars were initially ex-bootleggers for the most part drawn from that talent pool in the Carolinas hills: "good ol' boys" as they referred to themselves. That's exactly how they would be described in the press that slowly became enamored with their raucous life style. That has all changed, with the drivers of today polished and clean-cut athletes who are expected to behave like commercial puppets in public.

The appeal of the Riverside 500 was based on that overall spectacle of witnessing a mob of brightly colored, bellowing automobiles gamboling over the countryside like a herd of runaway steers. Stock car roadracing is in fact like a mechanical stampede, and we personally think it's maybe the neatest form of motor racing known to man. It's definitely the greatest spectacle in roadracing.

Don't get me wrong, I think bikes are terrific. I own several of my own, including a trendy mountain style, and ride them for pleasure and light exercise.

At Car and Driver, we were convinced that the automobile, as we knew and loved it, was as dead as the passenger pigeon. Ralph Nader was at full cry, ringing his tocsin of automobile doom into the brains of the public, convincing them that the lump of chrome and iron in the driveway was as lethal as a dose of Strontium 90 or a blast from a Viet Cong AK-47.

The whole movie thing has never been a source of great pride for me, in that Burt Reynolds, who starred in the picture, butchered the original script I had written for the late Steve McQueen, and the result, while a massive moneymaker, was lashed by the critics. But like the old joke about Pierre the Bridge Builder, The Cannonball Run is indelibly inscribed on my so-called career portfolio, and few conversations with strangers pass without the subject of the picture arising.