Word: shockingly
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None of this squares with the narrative of Bush immediately after 9/11, of course, but that’s only because Bush’s handlers reinvented him for a few short months. For that brief time, he seemed to share in America’s collective shock and to channel it, without cynicism, into a world coalition against terror...
...film's true shock lies in Gibson's vision of what is most important in the Jesus story, in the relentless, near pornographic feast of flayed flesh. Gibson gives us Christ's blood, not in a Communion cup, but by the gallon. Blood spraying from Jesus' shackled body; blood sluicing to the Cross's foot. This Passion begins just before Jesus' arrest. It ends with a blink-length Resurrection. The bulk of his ministry, miracles and post-Resurrection appearances are absent, and his preaching of love flicked at in telegraphically brief flashbacks. Meanwhile, his scourging, handled in all four Gospels...
Toby Keith's gift as a performer is that he can hold a grudge for 11 years, or at least pretend to. Despite the fact that he is country music's biggest male star and his current album, Shock'n Y'all, is hanging around the Top 10 months after its release, Keith is still wounded over not having been nominated by the Country Music Association for top new vocalist--in 1993. "We've got two awards shows in country," says Keith, "and new artist is hands down the easiest thing to win. But did I even get nominated...
...course of his various feuds, he has become a caricature. "In trying to defend yourself all the time, you end up looking pretty simple," he says, adding, "I'm not the banger of the war drum people think." Even though his new album title is a horrible pun on "shock and awe" and he included yet another anti-Taliban song, Keith describes himself politically as "an extremely conservative Democrat," and has expressed ambivalence about the motivations for the war in Iraq. Still, he doesn't mind his more-hawkish-than-Rummy image. "Most people think I'm a redneck patriot...
...Seen when it opened, the Pasolini film was a tonic shock: a low-budget black-and-white pastoral Christian film, worlds removed from the elephantine variety of Hollywood's Biblical epics, made by an atheist Marxist homosexual. "The Gospel" seemed stranger in light of Pasolini's later work, which grew more sensational, culminating in the 1977 "Salo, or the 120 Days of Sodom," which transposed de Sade to the Nazi...