"In old New York, you need cold cash to have a hot time."
--from Capt. Billy's Whiz Bang

16h UTC; SUNDAY, 27 OCTOBER 2013: From a Blogger's Notepad (as it were):

Biking back yesterday evening from the Kwik Trip out near Minnesota City via 6th Street, which is (more oir less) the "main drag" of the Winona suburb of Goodview, Your Correspondent couldn't help notice where, with the sun essentially setting as he made his way back (the days now getting shorter essentially; Standard Time resumes next weekend), the distant bluffs across the Mississippi River on the Wisconsin side took on, for but a brief moment ot so, a rather orangish hue accented by bits of cloud cover and a briskish wind besides.

Which, as the old mariners' rhyme has it, means nice weather as I set these thoughts down in virtual print to be read across Teh Blogospheerez. (However, as the week wears on, things could not only get slightly milder in the temperature department, they could get rather rough with the prospect of rain around midweek here in the Minnwissippi.)

Unlikely to be one for Ripley: From a website devoted to discussing the motion picture industry's Production Code, as prevailed in Hollywood from 1930 until the introduction of the ratings system at the end of 1967, and the "why and wherefore" behind same:
Audiences who see editions of older Swedish movies prepared for American theaters or video may notice that end titles never appear in them, that instead the screen goes black as the last flourishes of music sweep from the final scene. Italian films shown in the U.S. have a “Fine” title, French films end on “Fin,” and even Soviet films with Cyrillic lettering [конец--Your Correspondent, via Google Translate] and a translation subtitle. One would be wrong to assume that Swedish films ceased using “end” titles before the advent of the long closing credits now found on Hollywood blockbusters. Instead, what occurred was that American distributors excised the “end” titles of Swedish films because of what the Swedish equivalent of it is.
And That Word turns out to be "slut" (prnounced "sloot"), which is Swedish for "end"--but in American English use (pronounced as spelled) is a term of sexist opprobrium proscribed under the Production Code.

So Senator-turned-Elmer Gantryite activist Rick Santorum hath it that "the film industry is controlled by Satan" as a way to sell the Great Unwashed Masses on his new film release ... but could it be possible that His Satanic Majesty may be secretly controlling Branson's so-called "music shows," especially such having (howbeit discreet) conservative prolefeed content lest scandal detrimental to its tourist trade ensue?

Meanwhile, the following disclaimer as preceded the opening titles of the 1960 film adaptation of the Sinclair Lewis novel Elmer Gantry may want to be worth noting in the context of today's (pseudo)religious "ministries," especially such promoting the Prosperity Gospel or otherwise pandering to the basest of political or nationalist feelings in its Moroic Underworld audience (emphasis added):
We believe that certain aspects of Revivalism can bear examination—that the conduct of some revivalists makes a mockery of the traditional beliefs and practices of organized Christianity!

We believe that everyone has a right to worship according to his conscience, but—Freedom of Religion is not license to abuse the faith of the people!

However, due to the highly controversial nature of this film, we strongly urge you to prevent impressionable children from seeing it!
Furthering conservatives' notions of contempt towards the Lower Classes in particular, Your Correspondent has to wonder if the "cultural policy" conservative politicos would love to apply towards "culturally-deprived environments" excuses the likes of outright prolefeed, as represented by:
  • Exceptionally crass and depraved "elegant pornoo" of the "hound-and-horny" model, including use of bestiality or even Kinderporn as required "for variety."
  • Extreme Ultraviolence of the "blood-and-thunder" sort, with overtures to the giallo genre as required.
    (In both such instances, such targeting the Lower Classes must have no obvious underlying plot, story, moral or production values, instead emphasising random and unrelated scenes on the rationale that the Unwashed Masses "lack the capacity to grasp basic concepts in a coherent, organised form.")
  • Highly-sensationalised "online news sites" tending to emphasise but sport, crime, astrology and celebrity gossip.
  • Sentimental ballads which turn out being manufactured, yet are presented as having been "spontaneously released" out of the blue.
Finally, has anybody considered where the influence of the "Tea Party" and suchlike elements weird and unwholesome may actually be the unravelling of the RepubliKKKans as a viable political force, enow so to wonder about the risks of de facto one-party rule by the Democrats in an otherwise democratically-inclined society and Nation?

"Another small house is finished in the next block"
(to Engrishfy the closing remarks on every episode of the "slice-of-life"
radio series Vic and Sade through the years)


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