Question in English Exercises
Cycling
What's the furthest you have ever cycled? Perhaps you cycle to school or to work, or maybe at most a short cycling trip with friends? How would you feel about spending months on the road travelling solo from the UK to China, by bike? For British cyclist Pete Jones, camping rough and cycling long distances through inhospitable terrain are second nature. Mr Jones is currently undertaking a mammoth trip across the Eurasian continent from Britain to China. Pete Jones is no stranger to China. But he says many people there are puzzled by his passion for cycling, asking why he would choose to cycle when he can afford a car. Indeed, while there are an estimated 400 million bicycles in China, where it has long been the preferred form of transport, rapid economic growth has fuelled an explosive expansion in car ownership. Edward Genochio, another British cyclist who completed a 41,000km trip to China and back, said one of his aims was to "promote cycling as a safe, sustainable and environmentally benign means of getting about". In the UK, the last few years have seen a rise in the number of people choosing two wheels over four, with some estimates saying the number of people cycling to work has almost doubled in the last five years. Politicians also see cycling as a way to boost their eco-credentials, with people such as London mayor Boris Johnson often riding to work under his own steam. But we may have to wait some time before we see him emulating Pete Jones in attempting to cycle all the way to China! Font: www.bbc.co.uk/worldservice/...
1) According to the information from the text, it is correct to say that:
I- for Pete Jones, camping rough and cycling long distances through inhospitable terrain are the most common activity for british people.
II- despite cycling has long been the preferred form of transport in China, car ownership has increased a lot because of country’s economic growth.
III- it’s very important to wear a helmet while cycling. IV- in the UK, some estimates say the number of people cycling to work has almost doubled in the last twenty five years. V- London mayor often cycles to work.
a) Just the affirmatives I, II and III are true.
b) Just the affirmatives I and II are true.
c) Just the affirmatives II and V are true.
d) Just the affirmatives II, III and IV are true.
e) Just the affirmatives I and V are true.
2) According to the text, judge the items and choose the CORRECT answer.
I- People are cycling more because they want to lose weight.
II- In the UK, people are choosing two wheels over four just because it’s cheaper.
III- Cycling is a sustainable way of getting about and this means that cause no damage to the environment.
IV- China has grown economically because of its major transportation method.
a) There is just one correct affirmative.
b) Just the affirmatives I and II are correct.
c) Just the affirmatives II and III are correct.
d) Just the affirmatives II and IV are correct.
e) All the affirmatives are correct.
3) According to the text, the underlined word “rough” is:
a) a verb.
b) an adjective.
c) a noun.
d) an adverb.
e) a phrasal verb.
4) Still in accordance to the text, what alternative indicates the same idea as the underlined sentence below: “Politicians also see cycling as a way to boost their eco-credentials”
a) show people how honest they are.
b) save the world.
c) show people that they care about the environment.
d) reduce CO2 emissions.
e) reduce gas taxes.
5) Choose the alternative that completes the sentence correctly. My friend Camila hasn´t __________ health and beauty magazines, but his aunt Francine has _________ them.
a) many; much
b) many; a lot of
c) much; very
d) much; many
e) many more; much of
6) Mark the option that completes the conditional sentence correctly. They would never have lost the meeting if they _____________ the right bus.
a) taking
b) hasn’t taken
c) would take
d) could taken
e) had taken
7) Which group of plural words is NOT written correctly?
a) bottles; days; teeth
b) toes; months; wives
c) wolves; women; cars
d) mouths; surfers; men
e) potatoes; shelfes; forkes
8) Choose the INCORRECT alternative for the usage of the prepositions “on” and “in”.
a) We play volleyball on friday evenings.
b) He was born on 17 July 1972.
c) I had breakfast at 7:00 on the morning.
d) My dad’s birthday is in April.
e) On saturday night I went to bed very early.
9) Read the comparative sentences and than choose the correct alternative.
I- New York is the noisiest city in the USA.
II- London is the expensiver city in England.
III- This book is better than that one.
IV- Rafael is stronger than Alberto.
V- It was the most happy day of my life.
a) Just the affirmatives I, III and IV are correct.
b) Just the affirmatives I and IV are correct.
c) Just the affirmatives I, II and III are correct.
d) Just the affirmatives II, III and V are wrong.
e) Just the affirmatives II, III and IV are wrong.
10) The passive form of “They expect him to score a goal until the time is up” is:
a) Until the time is up they expect to score a goal.
b) Until the time is up he would score a goal.
c) He is scored until the time is up.
d) He is expected to score a goal until the time is up.
e) They expected to score a goal until the time is up.
Answer
1 – C
2 – A
3 – B
4 – C
5 – B
6 – E
7 – E
8 – C
9 – A
10 – D
ART REVIEW | 'WHO SHOT ROCK & ROLL'
Every Picture Tells a Story, Don’t It? Rock ’n’ roll and photography need each other — or, at least, rock musicians need photographers. You can’t be a star if you don’t have an image. But what makes a good rock photograph is something to ponder, and “Who Shot Rock & Roll: A Photographic History, 1955 to the Present” at the Brooklyn Museum offers an excellent opportunity to do so.
Organized by the photography historian Gail Buckland, the exhibition presents more than 175 images by 105 photographers, and includes album cover art, candid snapshots, publicity portraits and pictures of live performances.
Leaving aside aesthetic issues, it is hard to say what makes a high-quality rock photograph. So much depends on what you bring to it. For many viewers Richard Avedon’s pellucid black-and-white portraits of the Beatles in 1967 will resonate differently from David LaChappelle’s garishly colorful 1999 picture of the white hip-hop star Eminem sitting naked but holding a strategically placed stick of dynamite with a sparkling fuse.
It is not gratuitous to mention that Eminem is white, by the way, because most of the performers depicted are too. There are some pictures of black performers, but all have achieved crossover recognition, from Chuck Berry and Aretha Franklin to Tina Turner, Grace Jones and L L Cool J. This is an exhibition about what the white middle class has been listening to over the last 60 years: classic rock, as they call it on the radio. It could have been culled from past issues of People, and its impact is lessened because so many of these performers are already overexposed.
In the coffee table book that accompanies the show, Ms. Buckland argues that rock photography should be viewed like fashion photography, which has received considerable respect in recent decades. But fashion photography is more immediately visual; you don’t have to know who the model is or who designed the clothes to be interested. With rock photographs it matters who the subject is. Knowing that the bearded young man smiling genially at the camera in a 1972 photograph by Lynn Goldsmith is Bruce Springsteen greatly enhances the experience of an otherwise nondescript picture, for fans of the Boss, anyway.
One way to make rock photographs more interesting would be to analyze them as sociological or anthropological documents. Examining them according to some quasi-scientific system could bring to light meanings and metaphors that we have come to take for granted in the cult of rock. Hero worship, sexual aggression, gender roleplaying, youthful rebellion and the triumph of neo-primitivism in a consumerist age of unprecedented scientific, technological and industrial progress: these are topics worth examining.
A chapter could be devoted to the motif of the rock star who destroys his guitar during a performance, as in Ed Caraeff’s sequence of four pictures of Jimi Hendrix setting his guitar on fire at the Monterey Pop Festival in 1967 or Pennie Smith’s grainy image of Paul Simonon of the Clash swinging his bass by the neck in a blur of Dionysian catharsis. What do such sacrificial actions mean beyond the obvious theatrical expression of pent-up fury? Focused mainly on the fame, charisma and notoriety of its subjects, this exhibition offers few illuminating perspectives.
That said, it is an entertaining and sometimes absorbing show. Particularly for baby boomers, the demographic whose taste it most clearly represents, it is powerfully nostalgic. Perceptions of youth and age have a lot to do with it. To study images of Elvis Presley, Madonna and others when they were starting out is to marvel at the youth of those who created the huge global industry of today’s pop music.
For viewers who lived through the British Invasion of the early 1960s, going from Philip Townsend’s 1963 portrait of the smooth-faced Rolling Stones before they ever recorded an album to Mark Seliger’s 2005 image of a craggy, sinewy sexagenarian Mick Jagger leaning against a brick wall is truly affecting. However distant the lives of rock stars may be from ours, somehow we grow up with them and sooner or later find ourselves old like them.
Of course, some did not get old. Buddy Holly, Jimi Hendrix, Janis Joplin, Jim Morrison and Tupac Shakur will remain forever young, and pictures of them evoke thoughts of what might have been.
Especially poignant is Judy Linn’s black-and-white photograph of a young Patti Smith relaxing on a sofa bed in the messy apartment she shared with the photographer Robert Mapplethorpe in the early 1970s, before either became famous. It is breathtaking to think of how much has transpired since then. Ms. Smith became the godmother of punk; Mr. Mapplethorpe’s fearlessly homoerotic photography made him a lightning rod for the familyvalues set in the 1980s. A big segment of a creative generation, including Mr. Mapplethorpe, was lost to AIDS.
A few of the show’s photographers have more ambitious artistic aims. Andreas Gursky’s huge 2001 photograph made by digitally piecing together views of several Madonna concerts surveys the spectacle of modern rock from an Olympian distance. Ryan McGinley’s blurry, blue-toned image of a crowd watching a Morrissey concert from 2005 or 2006 tries to say something about the nature of mass fandom. In this context there is an overintellectualized lifelessness to such efforts.
In the midst of so much motionless and silent imagery, it is exciting to encounter one of the handful of film and video clips in the exhibition. One showing Bjork singing and dancing with infectious abandon on the back of a truck borders on the transcendental. Photographs of deities can have totemic value, but nothing captures the spirit of rock ’n’ roll like video.
“Who Shot Rock & Roll: A Photographic History, 1955 to the Present” continues through Jan. 31 at the Brooklyn Museum, 200 Eastern Parkway, at Prospect Park; (718) 638-5000, brooklynmuseum.org.
A version of this article appeared in print on October 30, 2009, on page C21 of the New York edition. By KEN JOHNSON Published: October 29, 2009
From questions 11 to 20 are based on the article above:
11- According to the above article:
(A) It is very important to have an image if you are a rock star.
(B) It is not very important to have an image if you are a rock star.
(C) It is not important to rock and roll to have photographers.
(D) Photographers and rock and roll stars do not need each other.
12- The article says that:
(A) Gail Buckhand is the coordinator of the exhibition.
(B) Gail Buckhand is the sole photographer.
(C) Gail Buckhand is the main photographer.
(D) Gail Buckhand owns the exhibition.
13- According to the article there is a difference between:
(A) Richard Avedon´s and David LaChappelle black
(B) Richard Avedon’s black and white work and David LaChappelle colorful work.
(C) Richard Avedon´s and David LaChappelle colorful work.
(D) Richard Avedon´s Eminem picture and David La Chappelle Beatles portrait.
14- The article states that:
(A) The pictures represent what have been listened by the audience lately.
(B) The pictures represent what white people have been listening over the last 60 years.
(C) The pictures represent various pop stars.
(D) The pictures represent what they have listened on the radio nowadays.
15- In comparison to fashion photography where you do not need to know who the model, or the designers are:
(A) rock photograph it does not matter who the subject is.
(B) rock photograph is likewise fashion photography.
(C) rock photograph does not need a model.
(D) rock photograph it matters who the rock star is.
16- The article refers to the sequence of four pictures destroyed by ________ in a show.
(A) Jimmi Hendrix
(B) Paul Simonon
(C) Class Swinging
(D) Pennie Smith
17- The exhibition is mainly seem by people from:
(A) the seventies
(B) the sixties
(C) the eighties
(D) the nineties
18- The only rock starts who will never get old for us are the ones :
(A) who have already died.
(B) who grew up with us.
(C) who grow up old like us.
(D) who are still alive.
19- Mr Mapplethorpe…:
(A) is a punker.
(B) has already died.
(C) was relaxing on a sofa bed.
(D) has AIDS.
20- In the exhibition there are also…
(A) video clips.
(B) Madonna´s concert posters.
(C) Andreas Gursky´s songs.
(D) Ryan McGinley´s concert.
Answer
11 a
12 a
13 b
14 b
15 d
16 a
17 b
18 a
19 b
20 a
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