English II End Term: 31 August 2025, Set QDF1 (May 2025 term)

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

What does the narrator tell the policemen about the cry?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

How did the narrator try to reassure the policemen?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

To which room did the narrator finally lead the policemen after taking them through the whole house and telling them to search it all?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

What physical sensation did the narrator experience as he spoke with the policemen?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

What realization did the narrator have about the source of the sound?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

“Now it was they who were playing a game with me.” According to this sentence, who was playing a game with whom?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

What did the narrator do to “cover that terrible sound”?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

Which of the following words from the passage is similar in meaning to the word clamorous? Choose your answer on the basis of how these words are used in the passage.

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

What ultimately caused the narrator to confess to the crime?

Read the following passage and answer the given subquestions.
I asked the policemen to come in. The cry, I said, was my own, in a dream. The old man, I said, was away; he had gone to visit a friend in the country. I took them through the whole house, telling them to search it all, to search well. I led them finally into the old man’s bedroom. As if playing a game with them I asked them to sit down and talk for a while. My easy, quiet manner made the policemen believe my story. So they sat talking with me in a friendly way. But although I answered them in the same way, I soon wished that they would go. My head hurt and there was a strange sound in my ears. I talked more, and faster. The sound became clearer. And still they sat and talked. Suddenly I knew that the sound was not in my ears, it was not just inside my head. At that moment I must have become quite white. I talked still faster and louder. And the sound, too, became louder. It was a quick, low, soft sound, like the sound of a clock heard through a wall, a sound I knew well. Louder it became, and louder. Why did the men not go? Louder, louder. I stood up and walked quickly around the room. I pushed my chair across the floor to make more noise, to cover that terrible sound. I talked even louder. And still the men sat and talked, and smiled. Was it possible that they could not hear? No! They heard! I was certain of it. They knew! Now it was they who were playing a game with me. I was suffering more than I could bear, from their smiles, and from that sound. Louder, louder, louder! Suddenly I could bear it no longer. I pointed at the boards and cried, “Yes! Yes, I killed him. Pull up the boards and you shall see! I killed him. But why does his heart not stop beating?! Why does it not stop!?”
(The Tell Tale Heart ~ Edgar Allen Poe)

Read the concluding lines of the passage. In the narrator’s perception, what is the source of the sound that is tormenting him?

Read the following email and answer the given subquestions.
From: Alicia Walker Alicia.Walker@gmail.com
To: ExpressEdits ExpressEdits@gmail.com
Subject: ____________________
_________________,
I am writing to formally accept the job offer for the position of Digital Illustrator at ExpressEdits. I am genuinely thrilled about the prospect of joining your esteemed team and am eager to make significant contributions, particularly in the area of visual storytelling. Thank you once again for this wonderful opportunity.
Warm regards,
Alicia Walker
Boston University
Alicia.Walker@gmail.com

Choose the correct option.
What is the purpose of the closing line in an email?

Read the following email and answer the given subquestions.
From: Alicia Walker Alicia.Walker@gmail.com
To: ExpressEdits ExpressEdits@gmail.com
Subject: ____________________
_________________,
I am writing to formally accept the job offer for the position of Digital Illustrator at ExpressEdits. I am genuinely thrilled about the prospect of joining your esteemed team and am eager to make significant contributions, particularly in the area of visual storytelling. Thank you once again for this wonderful opportunity.
Warm regards,
Alicia Walker
Boston University
Alicia.Walker@gmail.com

Choose the appropriate subject line from the following

Read the following email and answer the given subquestions.
From: Alicia Walker Alicia.Walker@gmail.com
To: ExpressEdits ExpressEdits@gmail.com
Subject: ____________________
_________________,
I am writing to formally accept the job offer for the position of Digital Illustrator at ExpressEdits. I am genuinely thrilled about the prospect of joining your esteemed team and am eager to make significant contributions, particularly in the area of visual storytelling. Thank you once again for this wonderful opportunity.
Warm regards,
Alicia Walker
Boston University
Alicia.Walker@gmail.com

Choose the appropriate salutation from the following.

Read the following email and answer the given subquestions.
From: Alicia Walker Alicia.Walker@gmail.com
To: ExpressEdits ExpressEdits@gmail.com
Subject: ____________________
_________________,
I am writing to formally accept the job offer for the position of Digital Illustrator at ExpressEdits. I am genuinely thrilled about the prospect of joining your esteemed team and am eager to make significant contributions, particularly in the area of visual storytelling. Thank you once again for this wonderful opportunity.
Warm regards,
Alicia Walker
Boston University
Alicia.Walker@gmail.com

Select true or false for the following statement.
Alice Walker is accepting the position of Marketing Specialist at ExpressEdits.

Read the following email and answer the given subquestions.
From: Alicia Walker Alicia.Walker@gmail.com
To: ExpressEdits ExpressEdits@gmail.com
Subject: ____________________
_________________,
I am writing to formally accept the job offer for the position of Digital Illustrator at ExpressEdits. I am genuinely thrilled about the prospect of joining your esteemed team and am eager to make significant contributions, particularly in the area of visual storytelling. Thank you once again for this wonderful opportunity.
Warm regards,
Alicia Walker
Boston University
Alicia.Walker@gmail.com

Fill in the blank with the correct option.
Who is the sender of the email?

Match the following:

Based on the above data, answer the given subquestions.

Dirt

Match the following:

Based on the above data, answer the given subquestions.

Candle

Match the following:

Based on the above data, answer the given subquestions.

Jungle

Match the following:

Based on the above data, answer the given subquestions.

Government

Match the following:

Based on the above data, answer the given subquestions.

Clan

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

Each argument in this radio report is built progressively on the one preceding it. Identify the sequence in which this radio report constructs its arguments.
i. Work fast
ii. Have a message to communicate
iii. Study, memorise, internalise
iv. Use source material according to taste
v. Feed your mind

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report illustrates how one can use the phraseology of a different domain in order to make a point about art. The word marinate is typically associated with:

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

What is the relevance of Jean-Michel Basquiat in this radio report?

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

Why does this audio report incorporate into it elements from an original interview with the artist? i. A radio report relies solely on the auditory medium and an original interview brings in a variety of voices into the report, making it more engaging.
ii. This radio report draws on the artistic process of Jean-Michel Basquiat and incorporating elements from an original interview with the artist helps the report to be structured and more convincing.

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

Who do you suppose is the intended addressee of this radio report?

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report is an interesting instance of how personal names and the names of objects and places are used to build an argument in the report. How do the items in List A add to the report? Match them to suitable items in List B.

Picasso

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report is an interesting instance of how personal names and the names of objects and places are used to build an argument in the report. How do the items in List A add to the report? Match them to suitable items in List B.

Andy Warhol

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report is an interesting instance of how personal names and the names of objects and places are used to build an argument in the report. How do the items in List A add to the report? Match them to suitable items in List B.

Flash of the Spirit

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report is an interesting instance of how personal names and the names of objects and places are used to build an argument in the report. How do the items in List A add to the report? Match them to suitable items in List B.

Henry Dreyfuss Symbol Sourcebook

Jean-Michel Basquiat and the Work Ethic of Creative Flow: A Radio Report
Reporter:
Jean-Michel Basquiat had endless inspiration. He was the embodiment of artistic flow, and while most artists will never approach anything close to his once in a generation talent, there are a few things that you could learn from his work methods that will help you tap into your own creative genius. For example, at the beginning of his career, Basquiat went out and bought two books– two books that would inform all of his works right up until his death. The first of these was a book called Henry Dreyfuss Symbol Sourcebook. This rare book would end up providing source material for almost all of the fifteen hundred drawings and six hundred paintings that he left behind. His art was filled with symbols–ladders, crowns, crosses, copyrights, and all of them came from this rare book. Many of them are gathered on one page– page ninety– a page that almost looks like a dictionary of his whole artistic language. There is, for instance, the symbol that denotes the death of man, which, sadly, he used to symbolise and prophesy his own death.One of the secrets of staying in flow is thus source material. Basquiat used source material like he was J Dilla sampling records, but source material alone will not automatically give you creativity. You have to learn to use it the artist’s way, and it is thus a question of taste– you choose source material that can expose you to the best things that humans have done, and try to bring those things into what you are doing. Picasso had a saying; he said “Good artists copy; great artists steal.” Stealing like an artist means stealing with no judgement. Let your taste make the decisions, not your brain. In an interview at the Fun Gallery in the early 1980s, Marc H. Miller asked Basquiat where the words in his paintings came from. He was interviewing the artist at an exhibition of his paintings at the Fun Gallery in the East Village of New York, and had the rare privilege of being able to refer back from the art to the artist, as both were present there at the gallery.
[Original audio of the interview]
Interviewer: Where do the words come from?
Basquiat: Real life, books, television…
Interviewer: Yeah, and you just skim them and start including…
Basquiat: No man, when I’m working, I hear them, you know, and I just throw them down. Interviewer: Oh yeah? Well, I mean, things like “punic wars” I remember that was in one of your… Basquiat: Uh, yeah, that was from a guidebook on Roman history. “History of Rome in 5 Pages,” you know?
Interviewer: So you snatched a few words from it?
Basquiat (smiling): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer points to a painting– what’s this?
Basquiat: That’s Pluto. Based on a drawing of the moon…the first drawing of the moon by Galileo. Interviewer: This looks like an eye
Basquiat: Yeah yeah, that’s the evil eye of the Malocchio
Reporter:
The moment you stop judging “Should I use this? What would people say?”, you open yourself to flow. Stealing like an artist is not to end up as just the sum of your influences. The choices of the artist are choices that serve his message and it is this informed choice that renders an artwork meaningful. The second book that gave Basquiat his unparalleled momentum was Flash of the Spirit- a book about African art. This book was key in helping him zero in on his message. The reason most artists lose flow when they are working is that when they get stuck, they have no guiding ideology to get them out of their tough spot, and because they don’t know what they are trying to communicate to the world, any roadblock could stop them in their tracks for days and open up a vortex of overthinking, staring at a blank canvas, and artist’s paralysis. That’s what happens when you don’t have an overarching message in your works. Basquiat did.
[Original audio]
Basquiat: I think there’s a lot of people that are neglected in art. I don’t know if it’s because of who made the paintings or what. Black people are never portrayed realistically, or not even portrayed in modern art enough.
Reporter:
And because he had a message, art came out of him that much more effortlessly. It’s not just that he had source material; it’s that he had a place to channel it. His work became a commentary on the underrepresentation of black art in the established art world. When you have a message, art comes out of you easily, but a message, tons of source material, and your newfound audacity to steal like an artist is still not enough. You will never have that Basquiat-like limitless inspiration and flow if you don’t master speed. The day Basquiat met Andy Warhol, he ran back home and painted a self-portrait of both of them from a polaroid his idol had just taken. And then he ran back to the restaurant to give it to him as a gift. The paint was still fresh. Warhol couldn’t believe it. All he kept repeating was “Oh, I’m jealous. I’m jealous. He’s faster than me, and these are so great.” That was the beginning of the collaborations between Andy and Jean-Michel. When one of the most prolific artists of all time is jealous of your speed, you know you are doing something right. Work quickly, like a demon. You should work so fast that you don’t have time to think. The brain is your enemy in art. Like they say in the music industry, keep the tape rolling.
If you really want to become the legendary artist that you have the potential to be, if you really want that endless inspiration, you have to understand that most of the flow that you have for making art will come from all the things that you are doing while you’re not making art. In between your creative sessions, while everyone else is busy consuming regurgitated content on social media, you should go offline and you should go deep. Most people need to rev up when they sit down to work. They need hours before they can finally get into the groove. That is because they haven’t been feeding their minds during their downtime.
[Original audio]
Basquiat: I never went to an art school. I failed the art courses that I did take in school. I just looked at a lot of things. And that’s how I think I learned about art, by looking at it. That’s a Roman belt buckle. It’s from a drawing that I did at the Metropolitan. Went all the way to the Metropolitan museum, and I did the drawing of the buckle and I came back with it and I put it right there. Interviewer: Well, that’s kind of a slow process.
Basquiat: I’m a slow person.
Reporter:
The process may seem slow to an outsider, but that slow process is what makes you outrageously fast when you get back into the studio. Make it your mantra to study, memorise and internalise, and those ideas you consume will marinate inside of you, and will eventually become part of your artistic DNA. Suddenly, the oddest things will come out of you at the most unexpected times. It’s all because you made yourself this well of inspiration. You became a student of life– ready at any time to express your genius.
Based on the above data, answer the given subquestions.

This radio report is an interesting instance of how personal names and the names of objects and places are used to build an argument in the report. How do the items in List A add to the report? Match them to suitable items in List B.

The Metropolitan Museum

Fill in the blanks with appropriate options:
The (1)_____ of the cradle was the only sound that resonated throughout the room. The (2)_____ clouds that gathered around the estate submerged the whole house in (3)_____. The (4)_____ aspect of living on the hillside was the landslides. The strong wind (5)_____ the treetops and it looked like a storm was coming.
Based on the above data, answer the given subquestions.

Choose the correct answer for blank (1).

Fill in the blanks with appropriate options:
The (1)_____ of the cradle was the only sound that resonated throughout the room. The (2)_____ clouds that gathered around the estate submerged the whole house in (3)_____. The (4)_____ aspect of living on the hillside was the landslides. The strong wind (5)_____ the treetops and it looked like a storm was coming.
Based on the above data, answer the given subquestions.

Choose the correct answer for blank (2).

Fill in the blanks with appropriate options:
The (1)_____ of the cradle was the only sound that resonated throughout the room. The (2)_____ clouds that gathered around the estate submerged the whole house in (3)_____. The (4)_____ aspect of living on the hillside was the landslides. The strong wind (5)_____ the treetops and it looked like a storm was coming.
Based on the above data, answer the given subquestions.

Choose the correct answer for blank (3).

Fill in the blanks with appropriate options:
The (1)_____ of the cradle was the only sound that resonated throughout the room. The (2)_____ clouds that gathered around the estate submerged the whole house in (3)_____. The (4)_____ aspect of living on the hillside was the landslides. The strong wind (5)_____ the treetops and it looked like a storm was coming.
Based on the above data, answer the given subquestions.

Choose the correct answer for blank (4).

Fill in the blanks with appropriate options:
The (1)_____ of the cradle was the only sound that resonated throughout the room. The (2)_____ clouds that gathered around the estate submerged the whole house in (3)_____. The (4)_____ aspect of living on the hillside was the landslides. The strong wind (5)_____ the treetops and it looked like a storm was coming.
Based on the above data, answer the given subquestions.

Choose the correct answer for blank (5).

From the given options, identify the most appropriate sentence to use in the following social context.
Context: A teacher to her students in a school.
Based on the above data, answer the given subquestions.

About the portions for the exam.

From the given options, identify the most appropriate sentence to use in the following social context.
Context: A teacher to her students in a school.
Based on the above data, answer the given subquestions.

Asking a student to get the chalk box from the staff room.

From the given options, identify the most appropriate sentence to use in the following social context.
Context: A teacher to her students in a school.
Based on the above data, answer the given subquestions.

Letting a student know about her low grades.

From the given options, identify the most appropriate sentence to use in the following social context.
Context: A teacher to her students in a school.
Based on the above data, answer the given subquestions.

About the deadline for an assignment submission.

From the given options, identify the most appropriate sentence to use in the following social context.
Context: A teacher to her students in a school.
Based on the above data, answer the given subquestions.

Asking a chirpy student to stop talking in class.

The word geography has a prefix and suffix. This statement is

Identify the number of prefixes in the following sentence.
The anticlimax was that the amoral politician, who was known for his illegal ways, got decorated in the end.

Which of the following is an example of back clipping?

He discovered that if he stared hard at any wolf, the wolf would be forced to drop his eyes. The that-clause in the given statement is the object of the verb discovered.
This statement is:

I will set that coat ablaze.
The verb in this sentence is a _____ verb and the sentence is an example of a _____sentence.

Complete the given sentence with the most fitting question tag.
Let us take him alive to the camp, _____?

Choose the correct modal verb to fill in the blank. See the hint or context provided and choose only the most appropriate option to fill the blank.
No party or candidate _____ be involved in any activity which may aggravate existing differences or create mutual hatred or cause tension between different castes and communities, religious or linguistic.
Hint: To denote a strong, socially-oriented, and legally-binding obligation on those contesting in elections

Fill in the blank with the most appropriate modal verb.
She informed them that she ________ be late for the meeting.

What does the modal auxiliary in the following sentence denote?
She might have won the tournament.

Fill in the box () in the following sentence with the appropriate punctuation mark.
“Today may not be the best day. However there is always a tomorrow.”

“We very much enjoy the Sunday nights in winter.”
The use of the degree adverb in the given sentence is:

“Historically, jellyfish have been kept in check by marine predators such as seabirds, sea turtles, fish and whales.”
Find the viewpoint adverb in the given sentence.

The state of an action being in continuity in future time is shown by which of the following sentences?
i. The Chicago Daily Post will be ordering a larger feature on the families of the victims. ii. I was looking at the crabgrass growing in the cracks on the sidewalk.
iii. The kid is hurling his ball against the ground and watching it bounce.

Convert the following sentence to active voice.
The defender was tackled by Ronaldo.

The passive voice is used when we want to emphasise the receiver of the action.

Fill in the blank with verb that is in the past perfect tense.
Sunanda ________ through the rain to visit her parents.

Choose the correct option and fill in the blank.
Merin ___ preparing for the entrance exam since last year.

If I were you, I would have invested that money. This is a __ sentence.

Identify the type of subordinate clause in the following sentence.
The patient had died before the doctor came

Choose the correct option after studying the given sentences.
A: Rohan jumped into the pond even though he didn’t know how to swim.
B: Rohan jumped into the pond despite of not knowing how to swim.