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.

There was a day when you could identify a NASCAR Ford, Chevrolet, or Dodge and they actually looked like "stock cars." Now they are pod machines, slick on the outside but still powered by the same Neanderthal carbureted pushrod V-8s that have been under their hoods for half a century. If this is real auto racing, then the WWF ought to be part of the Olympics.

Racing is bulging at the seams with pure nutball characters, men who can drink more, screw more, fight more, laugh more, joke more, than practically any collection of people in the world.

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.

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.

The automobile, both a cause and an effect of this decentralization, is ideally suited for our vast landscape and our generally confused and contrary commuting patterns.

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.