In heavily Democratic areas — 60 ZIP codes mostly in the core of big cities
\nlike Cleveland, Dayton, Columbus and Youngstown that voted two to one or better against Mr.
\nBush — new registrations have more than tripled over 2000, to 63,000 from 17,000.
\n<\/P>
\n
In Florida, where The [New York] Times was able to analyze data from 60 of the state’s 67
\ncounties, new registrations this year also are running far ahead of the 2000 pace, with Republican
\nareas trailing Democratic ones. In the 150 ZIP codes that voted most heavily for Mr. Bush,
\n96,000 new voters have registered this year, up from 86,000 in 2000, an increase of about 12
\npercent.<\/P>
\n
But in the heaviest of Democratic areas, 110 ZIP codes that gave two-thirds or more of their
\nvotes to Al Gore, new registrations have increased to 125, 000 from 77,000, a jump of more than
\n60 percent. … [And] in Duval County, where a confusing ballot design in 2000 helped disqualify
\nthousands of ballots in black precincts, new registrations by black voters are up 150 percent over
\nthe pace of 2000.<\/P><\/BLOCKQUOTE>
\n
<\/P>
\n
How ’bout that?<\/P><\/p>\n","protected":false},"excerpt":{"rendered":"
A friend writes: Here’s An Excellent Exposition of the Nature, Power, and Value of Rhetoric in a Context of National Importance. It’s an article by Stanley Fish, which is timely beyond words (almost). In speaking of George Bush’s rhetoric, for instance, Fish notes: “There is of course no logical relationship between the repetition of a […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-827","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-dl","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/827","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=827"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/827\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=827"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=827"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=827"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}