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...Senate leader as well. The love-hate presidency of George W. Bush was neither an accident of ideology nor a product of these times. Asked as he left the Crawford, Texas, polling station about the polarized feelings he inspires in voters, Bush replied, "I take that as a compliment. It means I'm willing to take a stand." He saw his task as leading and never looking back, and only that night did he learn whether enough people had decided to fall into line behind him to allow him to carry on. In a triumphant speech at the Ronald Reagan...

Author: /time Magazine | Title: Bush's Triumph: 2004 Election: In Victory's Glow | 11/15/2004 | See Source »

...given the campaign a gift. The communications director messaged back, "Yes, and my boss is about to open it." They crafted a speech that would lampoon Kerry's "new nuance" as the President ticked off the Senator's various positions for and against the war, concluding with the mocking compliment "I want to thank Senator Kerry for clearing that...

Author: /time Magazine | Title: 2004 Election: Inside The War Rooms | 11/15/2004 | See Source »

...important the CSI franchise is to us," says Moonves. "It is the linchpin of the resurrection of this network." Your peers do; at this year's Emmys, the original CSI was nominated for Best Drama for the third year in a row. And if imitation is TV's highest compliment, you need only read the listings to see the crime spree the networks...

Author: /time Magazine | Title: Television: Crimetime Lineup | 11/8/2004 | See Source »

Orlean’s willingness to engage with new worlds is contagious to readers. The humor, vivacity and fair-mindedness of her writing lead readers into worlds where they never thought they’d find themselves. According to Orlean, “The greatest compliment is when someone says, ‘I didn’t think I’d be interested in this but I ended up reading this essay...

Author: By Emer C.M. Vaughn, CONTRIBUTING WRITER | Title: Orlean’s Journeys on the Page | 10/29/2004 | See Source »

This nonsensical pastiche—especially in its frenzied but unfocused graphic energy—feels very contemporary, very post-modern. It’s tempting, then, to compliment Consalvos’ work by calling it years ahead of its time (Consalvos worked between 1910 and 1940). But one of the major traps of dealing with “outsider” art is that in welcoming it into the mainstream (no matter how well-meaning our efforts to legitimize it may be) there is a real danger that we will lose sight of the qualities that make it special...

Author: By Julian M. Rose, THE ANGEL OF POST-MODERNISM | Title: Outsiders Approach Art from the Inside | 10/29/2004 | See Source »

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