It's a fun, freewheeling place where the Bandit and Snowman laugh at a racist old sheriff while still sporting the Confederate flag on their license plates. It's a South that can laugh at itself, and it's a South where there's hardly any reference to racial politics at all. Tropics of Meta reports that, whether intentionally or not, "Smokey and the Bandit" represents this "new South" ideology. Bud Jenkins and his wife were living on far reaches. As the economic and political prospects of the South were revived by the Republican Party's "Southern Strategy" and renewed investment in cities like Atlanta, the region wanted to put some distance between itself and images like Klan rallies and civil rights protests. Cryptids like Bigfoot, Yeti, Sasquatch or the mis-translated 'Abominable Snowman' abound in folk tales. In the 1970s, the South was beginning to emerge from more than a century as a racially oppressive, violent place perceived as backwards and dangerous. According to Film School Rejects, it is actually possible to do the round-trip within the time limit at about 65 miles per hour.īut, as the Los Angeles Times explains, even if the film isn't consciously deep, it represented a shifting perception of the South in the United States and is arguably an important representation of a re-branding effort. Snowman and Bandit can only win the bet if they exceed the speed limit the whole way, so they agree that Bandit will drive the flashy sports car to distract the cops (aka the "Smokies" in CB trucker lingo), while Snowman slips past unnoticed. The time limit is what gives the plot of the movie its tension. The New York Times notes that the lack of availability helped make Coors a legendary beer and that people actually did smuggle it. Rather than deal with the headaches of spoiled beer, Coors simply didn't extend its distribution eastward beyond the Mississippi River. Coors was a regional product of Colorado, and it wasn't pasteurized and contained no preservatives, which made shipping it beyond certain geographical limitations without a decline in quality impossible. In fact, this remained the case until 1986. See? Viral images were a thing back in the 1800’s, too.Except it wasn't silly in 1977, because, as Vinepair reports, you really couldn't get Coors beer east of the Mississippi. The New York Tribune sent a reporter to cover it, the image went worldwide, and Mead became a national phenomenon. The heavenly figure held a pen and paper so it became known as the “Recording Angel.” It was said to be so lifelike, schoolboys refrained from pelting it with snowballs. One famous example: On the morning of New Year’s Day 1857, sculptor Larkin Mead (who, by the way, designed Abraham Lincoln’s Springfield tomb) unveiled an 8-foot high snow-and-ice statue in Brattleboro, Vermont. Some Artists Appealed To Our Better Snow Angelsįine artists often used the snowman to flex their creative muscles. The citizenry constructed life-sized snow statues on every street corner, which included politically-charged displays and some XXX scenes. That year, the townsfolk of Brussels put on a mini-Woodstock, protesting the political climate using the art supply that fell from the sky. “They’re like frozen Forrest Gumps.” The Miracle of 1511 is one of the most entertaining. “Snowmen are a part of many historical benchmarks,” says Eckstein. Koninklijke Bibliotheek The Rebellion Of Snowy Sex Acts
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