Indy 500 Quotes

We've searched our database for all the quotes and captions related to Indy 500. Here they are! All 21 of them:

Emma pursed her lips thoughtfully. “Okay, here’s a really bad analogy for you. Aidan is like the Indy 500 of Sex, and I need someone who is more—” “Bumper cars?” Casey asked. “I was going to say the slow lane, smartass.
Katie Ashley (The Proposition (The Proposition, #1))
Traffic's not too bad on Sheridan, and I'm cornering the car like it's the Indy 500, and we're listening to my favorite NMH song, "Holland, 1945," and then onto Lake Shore Drive, the waves of Lake Michigan crashing against the boulders by the Drive, the windows cracked to get the car to defrost, the dirty, bracing, cold air rushing in, and I love the way Chicago smells—Chicago is brackish lake water and soot and sweat and grease and I love it, and I love this song, and Tiny's saying I love this song, and he's got the visor down so he can muss up his hair a little more expertly.
John Green (Will Grayson, Will Grayson)
I watched the Indy 500, and I was thinking that if they left earlier they wouldn't have to go so fast.
Steven Wright
You cannot bullshit the stopwatch.
Jade Gurss (Beast: The Top Secret Ilmor-Penske Race Car That Shocked the World at the 1994 Indy 500)
The moment a team member relaxes is the moment their opponent in the next garage or the next driver on the track is pushing harder.
Jade Gurss (Beast: The Top Secret Ilmor-Penske Race Car That Shocked the World at the 1994 Indy 500)
I’ve noticed that ‘news’ is not what’s happened. It’s what’s happened on camera. If a herd of tigers runs amok in a remote Indian village, it’s not news. If a gang of wide-eyed rebels slaughters the inhabitants of a faraway African village, it’s not news. But if it’s a bit windy in America, it is news. Because in America everything that happens is recorded. I find myself wondering if last week’s Israeli raid on a Turkish ship in a flotilla carrying aid to Gaza would have had the coverage it did if the battle hadn’t been captured on film. And likewise the racing driver who broke a leg after crashing in the Indy 500. It only became a big deal because we could watch the accident from several angles in slow motion.
Jeremy Clarkson (Is It Really Too Much To Ask? (World According to Clarkson, #5))
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The infamous Fray Nicolás de Ovando y Cáceres, who had sniveled around the Royal Court wanting to become a favorite of the pious Queen Isabella, was appointed Governor of the Indies, replacing Francisco de Bobadilla, the man who had been responsible for sending Columbus from Hispaniola, back to Spain in irons. Prior to his appointment Fray Nicolás de Ovando had been a Spanish soldier, coming from a noble family, and was a Knight of the Order of Alcántara. On February 13, 1502, Fray Nicolás sailed from Spain with a record breaking fleet of thirty ships. Since Columbus’ discovery of the islands in the Caribbean, the number of Spanish ships that ventured west across the Atlantic had consistently increased. For reasons of safety in numbers, the ships usually made the transit in convoys, carrying nobility, public servants and conquistadors on the larger galleons that had a crew of 180 to 200. On these ships a total of 40 to 50 passengers had their own cabins midship. These ships carried paintings, finished furniture, fabric and, of course, gold on the return trip. The smaller vessels including the popular caravels had a crew of only 30, but carried as many people as they could fit in the cargo holds. Normally they would carry about 100 lesser public servants, soldiers, and settlers, along with farm animals and equipment, seeds, plant cuttings and diverse manufactured goods. For those that went before, European goods reminded them of home and were in great demand. Normally the ships would sail south along the sandy coast of the Sahara until they reached the Canary Islands, where they would stop for potable water and provisions before heading west with the trade winds. Even on a good voyage, they could count on burying a third of these adventurous at sea. Life was harsh and six to eight weeks out of sight of land, always took its toll! In all it is estimated that 30,500 colonists made that treacherous voyage over time. Most of them had been intentionally selected to promote Spanish interests and culture in the New World. Queen Isabella wanted to introduce Christianity into the West Indies, improve the islands economically and proliferate the Spanish and Christian influences in the region.
Hank Bracker
From the Introduction to Christopher Columbus and the Age of Exploration for Kids: In 1892, with the 400th anniversary of Christopher Columbus’s arrival in the West Indies, the world rushed to celebrate—or at least the United States did. In America, the glorifying of the Discoverer took its most lofty form in the Columbian Exposition, held in Chicago. In a nation with 63 million people, the fair attracted 24 million visitors. It cost as much to put on the extravaganza as it would to build the Panama Canal more than a decade later. The Columbian Exposition had but one purpose: to celebrate America’s magnificence—a result of Columbus’s brave and daring initial voyage, its surprising revelation, and its marvelous impact on world history. Clearly, in 1892, Christopher Columbus held center stage. Not so a hundred years later, in 1992, when the 500th, anniversary of the Discovery rolled around. No longer, it was said, should Columbus’s achievement be considered an unmixed blessing. Nor should the man, himself, be viewed with uncritical reverence. Columbus, many historians were now willing to concede, had numerous character flaws that resulted in misadventures and moral failure. The Admiral was seen as the first of many Europeans, who, in coming to the New World, would ravage the land, plunder its wealth, and eventually introduce African slavery. There was no Columbian Exposition in 1992. In the United States, Columbus was hardly mentioned at all. Christopher Columbus is possibly the most researched and written about individual in history. That is not surprising. No matter what one may think of Columbus, hero, heel, or both, the significance of what he did, however interpreted, is monumental. Christopher Columbus changed the world. For that, the Admiral of the Ocean Sea deserves to be known and explored. What follows, hopefully, will be your own act of discovery.
Ronald A. Reis (Christopher Columbus and the Age of Exploration for Kids: With 21 Activities (52) (For Kids series))
But the broader lesson of the first Industrial Revolution is more like the Indy 500 than John Henry: economic progress comes from constant innovation in which people race with machines. Human and machine collaborate together in a race to produce more, to capture markets, and to beat other teams of humans and machines.
Erik Brynjolfsson (Race Against The Machine)
That makes good sense if you’re an Indy 500 racer. But you aren’t. (Sorry.) You’re a software project manager. The same mind-set on a software project is a disaster.
Tom DeMarco (Waltzing with Bears: Managing Risk on Software Projects)
Unlike in some types of racing, there is no warmup at the Indy 500.
Stan Sutton (The Curse of the Indy 500: 1958's Tragic Legacy)
triggered by Walther’s car touching wheels with Jerry Grant’s.
Stan Sutton (The Curse of the Indy 500: 1958's Tragic Legacy)
boomerang-looking device in front of the driver
Stan Sutton (The Curse of the Indy 500: 1958's Tragic Legacy)
Life is like the Indy 500. Five hundred laps. Five hundred laps with pit stops. You’ve got to tune up, change the tires, recharge the battery.
Ayaz Virji (Love Thy Neighbor: A Muslim Doctor's Struggle for Home in Rural America)
You shouldn’t read a novel to learn history, any more than you should attend the Indy 500 in place of driver’s ed. Yet there is something to be said for the ability of fiction to spark your imagination, to encourage you to learn more about a person, an event, a period.
Matt Kraemer
though
Jade Gurss (Beast: The Top Secret Ilmor-Penske Race Car That Shocked the World at the 1994 Indy 500)
For major-label deals, producers get “points.” “Points” are simply defined as percentage points of the artist’s royalty. So, if an artist gets 18 (percentage) points for a major record deal and the producer gets 3, those 3 get subtracted from the artist’s points. If you divide 3 by 15, the producer is getting about 20% of what the artist gets. The label is still keeping 82%. Producers typically receive anywhere from 3–7 points. The average for up-and-coming producers is usually 3 points; recognizable names typically get 4–5 points and anything over 5 points is typically for superstar producers. Producers get their up-front fee (an advance—after signing the contract), and then their points kick in after the recording costs are recouped. But, unlike how major-label deals are typically structured for artists, once the recording costs are recouped, the producer gets paid from “record one.” Meaning, from the first sale/stream. You can negotiate the backend percentage based on the up-front fee. More money up front, lower percentage on the backend. And vice versa. So, maybe the producer wants $3,000 up front for a “buy out”—meaning no backend percentage and no ownership rights in the recording. But maybe the artist only has $1,500 up front to pay. In this instance, you might kick in 15% backend. Or maybe the artist only has $500 to pay up front, so then the backend could be 25%. If the artist has no money up front to pay, then it’s typically a 50/50 split of royalties—and usually co-ownership of the recording. But if you are the artist, and the producer is going to get ownership of the recording, then the producer should sign something saying that you can administer the track on your own: Since you, the artist, are going to be the one promoting the track and making all of the decisions, you don’t want the producer to be able to hold anything up. Where the percentage numbers come from for indie deals (15–25%) is based on the major-label point system. Since most producers get 3–7 points and most artists’ deals are 12–20 percentage points of sales/streams, you divide the producer point by artist point. So, if you’re working with a “3-point producer,” you can divide 3 by 15 (typical artist points less the producer points) and get 20%. But these are obviously loose calculations because the artist royalty rate fluctuates based on the deal. I’m using these numbers for easy math.
Ari Herstand (How To Make It in the New Music Business: Practical Tips on Building a Loyal Following and Making a Living as a Musician (Third))
Time is hard for me to understand. I want everything to remain like it is right now, without change. Impossible, I know, but change is too often bad. Change is inevitable, but when it hits you in the face with such honest and emotional words it stings.
Aaron Likens (Playing in Traffic: My Journey from Autism Diagnosis to the Indy 500 Flagstand)
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I could only be defined by my diagnosis if I allowed it, was monumental.
Aaron Likens (Playing in Traffic: My Journey from Autism Diagnosis to the Indy 500 Flagstand)