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44. She heard a terrible noise, ______ brought her heart into her mouth.
A. it B. which C. this D. that
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Has __________been decided when we are to hold the sports-meeting?
A.that B.this C.it D.what
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4. I hate _______ when young people speak to the elderly in a rude way.
A. this B. that C. it D. One
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26.All passengers _________ to Shanxi must change trains at the next stop.
A. not go B. aren’t going C. don’t go D. not going
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29. They made many records, _____ they will always be remembered.
A. for that B. to which C. for which D. to that
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19. This kind of desk can be ________ to the height you need, which makes it very popular.
A. adopted B. adjusted C. referred D. Designed
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B
For a song to become popular, people need to bear it. In order for people to hear it, the program directors at radio stations have to play it on the air. A song’s popularity is directly related to how often it is played. That is a big responsibility for program directors. How do they decide what gets played and what doesn’t?
In the past, disc jockeys(音樂(lè)節(jié)目主持人) decided what music was played on the radio. These DJs had an ear for music and an understanding of what their audience wanted to hear. Today, that is all changing. Most major radio stations are owned by a few large national businesses. The decision of what gets played on the radio is made by executives(主管) who have little or no interest in music. They do, however, know how to run a business, and they know what sells. So, the music industry designs and creates pop entertainers, and executives in the radio industry make sure that their music is played on the radio. This explains why you do not often hear anything new and fresh on the radio. The executives do not want to give air time to music that has not been tested on the market. It is too risky. They prefer to go with music that they already know will sell. They know it will sell because it sold last week and last month and last year. They just have to change it a little.
One of the most criticized(批評(píng)) practices in the music industry is the practice of “payola”. This is when record companies pay radio stations to play the music of a given artist. This practice makes many people lose trust in the music industry and is therefore against the law. A radio station can accept money in exchange for air time of a song, but they have to make it clear that the song is being played because its air time was paid for. They cannot present the song as if it were part of the normal play schedule(時(shí)刻表).
Payola affects both artists and audiences. The artists who work with small record companies that cannot pay a lot of money to radio stations have a much harder time getting exposure. It creates an unfair playing field. Music lovers suffer because they are not able to hear all the music that is available.
60. According to the passage, most major radio stations belong to .
A. national businesses B. program directors
C. pop entertainers D. record companies
61. “Payola” is the practice of .
A. artists paying radio stations to play their songs
B. record companies buying air time for certain music
C. radio station paying record company for new songs
D. program directors deciding what music gets played
62. Who can make the largest profits from payola?
A. Disc Jockeys. B. The given artists.
C. Business executives. D. Program directors.
63. It can be concluded from the passage that the author .
A. has a positive attitude towards the practice of “payola”
B. is dissatisfied with the present situation in music industry
C. is calling for a change in the normal play schedule
D. thinks that the radio stations are doing the right thing
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8. The ________ goal of the book is to help bridge the gap between research and teaching, particularly the gap between researchers and teachers.
A) joint B) intensive C) overall D) decisive
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32. After he left college, he was employed in an international company and _______ there ever since.
A. worked B. has worked C. had worked D. was working
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39. –Did you _____ your sister when you were in Shanghai?
--No. But I _____ my uncle’s during my stay there.
A. call on, called on B. call at, called at C. call on, called at D. call at, called on
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