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.
Everything at a NASCAR event carries a corporate logo except the lavatory stalls.
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.
A written regulation in NASCAR is about as reliable as an Egyptian immigration law.
Regardless, I did rise to the editorship before embarking on a freelance career in the late '60's.
The harsh reality is that America moves on four wheels, powered by conventional internal-combustion engines. At this point, while the elite media (excluding Newsweek) trumpet the benefits of hybrids and Ford and Toyota plan to lead the nation into a low-powered, high-mileage hybrid Utopia, the multitudes remain loyal to the gas-guzzling family bus in the driveway.
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