Regardless, I did rise to the editorship before embarking on a freelance career in the late '60's.

While greenies and their media flunkies continue to savage the gasoline-powered internal-combustion engine and rhapsodize about hybrids, hydrogen, electrics, natural gas, propane, nuclear, and God-knows-what-other panaceas, perhaps including bovine urine, there are no realistic, economically viable alternatives. None. Zero. Like it or not, as long as we remain dependent on the private automobile for transportation (roughly 80 percent of all movement in the nation is by car), we are harnessed to the IC gas engine.

More books, more racing and more foolishness with cars and motorcycles are in the works.

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.

I realize this is blasphemy, but a few weeks ago I tried to watch a NASCAR race being run at Talladega. I lasted about five minutes before terminal boredom overtook me. It appeared to be nothing more than a high-speed freeway commute--a mob of luridly painted, identical lumps of metal loping at 180 mph around the banking, fender to fender, nose to tail. Knowing the scenario would surely devolve into a multicar demolition derby that would thrill the goobers in the grandstands, I turned off the set to later learn that this time it was Jimmie Johnson who triggered the eight-car melee.

The bicycle is a former child's toy that has now been elevated to icon status because, presumably, it can move the human form from pillar to post without damage to the environment.

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.