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...Bush, they also show that the two candidates are in a statistical dead heat and that, despite Bush’s falling numbers, Kerry is having trouble picking up the support of those recently disenchanted with the president. Bush’s special brand of down-home charisma and charm must be part of the reason, and it will be difficult for Kerry to battle a gut feeling most Americans have about the president, whom many voters continue to deem decisive and trustworthy. But Bush’s excellent campaign staff—including spin maestro Karl Rove...

Author: By The Crimson Staff, | Title: Beating Bush | 6/9/2004 | See Source »

...President of the second half of the 20th century? Well, he certainly had the one quality Napoleon always sought in a general: luck. Luck in his looks, luck in his voice, luck in his smile, luck in his choice of mate (although for Reagan the second time was the charm...

Author: /time Magazine | Title: He Could See for Miles | 6/7/2004 | See Source »

...With the years, the shallow explanations for Reagan's success - charm, acting, oratory - have fallen away. What remains is Reagan's largeness and deeply enduring significance. Let Edward Kennedy, the dean of Democratic liberalism, render the verdict: "It would be foolish to deny that his success was fundamentally rooted in a command of public ideas ... Whether we agreed with him or not, Ronald Reagan was a successful candidate and an effective President above all else because he stood for a set of ideas. He stated them in 1980 - and it turned out that he meant them - and he wrote most...

Author: /time Magazine | Title: He Could See for Miles | 6/7/2004 | See Source »

...lure of Modigliani's pinwheeling life may help to explain the long lines outside the Jewish Museum in New York City, where "Modigliani: Beyond the Myth" opened earlier this month. (It remains there through Sept. 19, then moves on to Toronto and Washington.) But the famous charm of his art is the other explanation. He settled early upon a formula of powerful appeal, a convergence of fastidious lines and abstracted facial features, of intimacy and enigma, that made modernism inviting, even comfortable. He didn't dynamite the human form as Picasso did or distill it to its essence like Matisse...

Author: /time Magazine | Title: Art: Bad Boy Of The School Of Paris | 6/7/2004 | See Source »

Intelligently done all the same. His reputation is firm enough, but like Marc Chagall, Modigliani is one of those artists who have always been more popular with the public than with critics. His charm can seem too creamy sometimes, his legend so large it starts to overwhelm the output of his brief life. The Jewish Museum show, which was organized by curator Mason Klein, seeks to complicate our understanding of Modigliani. For one thing, it argues that each of his portraits is a signpost of the outsider, that Modigliani's art is the outcome of his position as a stranger...

Author: /time Magazine | Title: Art: Bad Boy Of The School Of Paris | 6/7/2004 | See Source »

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