English II Quiz 2: 1 December 2024 (September 2024 term)

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

Which of the following is true about the given radio report?
i. The radio report is a biography of the artist Jean-Michel Basquiat and it catalogues his works ii. The radio report presents Jean-Michel Basquiat’s work methods as a model to learn from

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

This radio report requires the listener to go beyond the literal sense of some words to grasp the idea that it puts forward. This feature of the radio report partly derives from its wholly oral character, and words can be made to carry new meanings through variations of tone and context. What then, according to this radio report, does it mean to “steal like an artist”?
i. To steal from places like the Metropolitan museum without thinking “What would people say?” ii. To be influenced and inspired by self-help books and to apply those ideas to your life until your life works flawlessly and ethically
iii. To use a variety of source materials and to use your artistic taste to choose elements which can be incorporated into your own works of art

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

Why does this audio report incorporate into it elements from an original interview with the artist? i. 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.
ii. 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.

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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.

J Dilla

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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

Read the following exchange and answer the given subquestions:
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 (the rapper) 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 (a slight smile in his voice): I didn’t snatch them, you know?
Interviewer: They, they caught your…
Basquiat: They caught my eye and then I took them.
Interviewer (referring 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 thinking “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.

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.
"I just like to enjoy the '(1)_____ things in life' " said Kumar. Kumar has been slapped with a hefty (2)_____ for illegally importing luxury automobiles. "Is it illegal to have good taste? Those seats are made of the (3)_____ italian leather", he said in criticism of the (4)_____ laws on import. "The (5)_____ of auto maintenance is an art form that is being stifled" Kumar added.
Based on the above data, answer the given subquestions.

Choose the correct answer for (1).

Fill in the blanks with appropriate options.
"I just like to enjoy the '(1)_____ things in life' " said Kumar. Kumar has been slapped with a hefty (2)_____ for illegally importing luxury automobiles. "Is it illegal to have good taste? Those seats are made of the (3)_____ italian leather", he said in criticism of the (4)_____ laws on import. "The (5)_____ of auto maintenance is an art form that is being stifled" Kumar added.
Based on the above data, answer the given subquestions.

Choose the correct answer for (2).

Fill in the blanks with appropriate options.
"I just like to enjoy the '(1)_____ things in life' " said Kumar. Kumar has been slapped with a hefty (2)_____ for illegally importing luxury automobiles. "Is it illegal to have good taste? Those seats are made of the (3)_____ italian leather", he said in criticism of the (4)_____ laws on import. "The (5)_____ of auto maintenance is an art form that is being stifled" Kumar added.
Based on the above data, answer the given subquestions.

Choose the correct answer for (3).

Fill in the blanks with appropriate options.
"I just like to enjoy the '(1)_____ things in life' " said Kumar. Kumar has been slapped with a hefty (2)_____ for illegally importing luxury automobiles. "Is it illegal to have good taste? Those seats are made of the (3)_____ italian leather", he said in criticism of the (4)_____ laws on import. "The (5)_____ of auto maintenance is an art form that is being stifled" Kumar added.
Based on the above data, answer the given subquestions.

Choose the correct answer for (4).

Fill in the blanks with appropriate options.
"I just like to enjoy the '(1)_____ things in life' " said Kumar. Kumar has been slapped with a hefty (2)_____ for illegally importing luxury automobiles. "Is it illegal to have good taste? Those seats are made of the (3)_____ italian leather", he said in criticism of the (4)_____ laws on import. "The (5)_____ of auto maintenance is an art form that is being stifled" Kumar added.
Based on the above data, answer the given subquestions.

Choose the correct answer for (5).

Study the conversation given below and answer the subquestions that follow by filling in the blanks with the most contextually appropriate expressions.
Judge: Mr. Foreperson, is it correct that the jury has reached a verdict?
Foreperson: (i) _____
Judge: Will the Clerk of the Court please take the verdict? (ii) _____
Clerk: As to G.S.15A-2000 murder in the first degree, what is the jury’s verdict?
Foreperson (reads): We, the jury, find the defendant, Catherine Danielle Clark, not guilty of first- degree murder of Mr. Chase Andrews.
Clerk: Members of the jury, your foreperson has announced the following verdict:
G.S.15A-2000, murder in the first degree, not guilty. (iii) _____
Jurors (collectively): Yes
Judge: If anyone said no, please raise your hand.
(Nobody raises their hand.)
Judge: Do you wish the jury to be polled?
(No party makes an application for a poll.)
Judge: (iv) _____ Ms. Clark, you are free to go, and I apologize on behalf of the State for the time that you have served. The jury is hereby discharged from the case. (v) _____

Fill in blank (i) with the most fitting response from the options given below. Keep in mind the setting, the tone and the subject of the conversation, and the capacities within which the speakers are interacting.

Study the conversation given below and answer the subquestions that follow by filling in the blanks with the most contextually appropriate expressions.
Judge: Mr. Foreperson, is it correct that the jury has reached a verdict?
Foreperson: (i) _____
Judge: Will the Clerk of the Court please take the verdict? (ii) _____
Clerk: As to G.S.15A-2000 murder in the first degree, what is the jury’s verdict?
Foreperson (reads): We, the jury, find the defendant, Catherine Danielle Clark, not guilty of first- degree murder of Mr. Chase Andrews.
Clerk: Members of the jury, your foreperson has announced the following verdict:
G.S.15A-2000, murder in the first degree, not guilty. (iii) _____
Jurors (collectively): Yes
Judge: If anyone said no, please raise your hand.
(Nobody raises their hand.)
Judge: Do you wish the jury to be polled?
(No party makes an application for a poll.)
Judge: (iv) _____ Ms. Clark, you are free to go, and I apologize on behalf of the State for the time that you have served. The jury is hereby discharged from the case. (v) _____

Fill in blank (ii) with the most fitting response from the options given below. Keep in mind the setting, the tone and the subject of the conversation, and the capacities within which the speakers are interacting.

Study the conversation given below and answer the subquestions that follow by filling in the blanks with the most contextually appropriate expressions.
Judge: Mr. Foreperson, is it correct that the jury has reached a verdict?
Foreperson: (i) _____
Judge: Will the Clerk of the Court please take the verdict? (ii) _____
Clerk: As to G.S.15A-2000 murder in the first degree, what is the jury’s verdict?
Foreperson (reads): We, the jury, find the defendant, Catherine Danielle Clark, not guilty of first- degree murder of Mr. Chase Andrews.
Clerk: Members of the jury, your foreperson has announced the following verdict:
G.S.15A-2000, murder in the first degree, not guilty. (iii) _____
Jurors (collectively): Yes
Judge: If anyone said no, please raise your hand.
(Nobody raises their hand.)
Judge: Do you wish the jury to be polled?
(No party makes an application for a poll.)
Judge: (iv) _____ Ms. Clark, you are free to go, and I apologize on behalf of the State for the time that you have served. The jury is hereby discharged from the case. (v) _____

Fill in blank (iii) with the most fitting response from the options given below. Keep in mind the setting, the tone and the subject of the conversation, and the capacities within which the speakers are interacting.

Study the conversation given below and answer the subquestions that follow by filling in the blanks with the most contextually appropriate expressions.
Judge: Mr. Foreperson, is it correct that the jury has reached a verdict?
Foreperson: (i) _____
Judge: Will the Clerk of the Court please take the verdict? (ii) _____
Clerk: As to G.S.15A-2000 murder in the first degree, what is the jury’s verdict?
Foreperson (reads): We, the jury, find the defendant, Catherine Danielle Clark, not guilty of first- degree murder of Mr. Chase Andrews.
Clerk: Members of the jury, your foreperson has announced the following verdict:
G.S.15A-2000, murder in the first degree, not guilty. (iii) _____
Jurors (collectively): Yes
Judge: If anyone said no, please raise your hand.
(Nobody raises their hand.)
Judge: Do you wish the jury to be polled?
(No party makes an application for a poll.)
Judge: (iv) _____ Ms. Clark, you are free to go, and I apologize on behalf of the State for the time that you have served. The jury is hereby discharged from the case. (v) _____

Fill in blank (iv) with the most fitting response from the options given below. Keep in mind the setting, the tone and the subject of the conversation, and the capacities within which the speakers are interacting.

Study the conversation given below and answer the subquestions that follow by filling in the blanks with the most contextually appropriate expressions.
Judge: Mr. Foreperson, is it correct that the jury has reached a verdict?
Foreperson: (i) _____
Judge: Will the Clerk of the Court please take the verdict? (ii) _____
Clerk: As to G.S.15A-2000 murder in the first degree, what is the jury’s verdict?
Foreperson (reads): We, the jury, find the defendant, Catherine Danielle Clark, not guilty of first- degree murder of Mr. Chase Andrews.
Clerk: Members of the jury, your foreperson has announced the following verdict:
G.S.15A-2000, murder in the first degree, not guilty. (iii) _____
Jurors (collectively): Yes
Judge: If anyone said no, please raise your hand.
(Nobody raises their hand.)
Judge: Do you wish the jury to be polled?
(No party makes an application for a poll.)
Judge: (iv) _____ Ms. Clark, you are free to go, and I apologize on behalf of the State for the time that you have served. The jury is hereby discharged from the case. (v) _____

Fill in blank (v) with the most fitting response from the options given below. Keep in mind the setting, the tone and the subject of the conversation, and the capacities within which the speakers are interacting.

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.
I _____ collect her from the airport.
Hint: Expression of Promise

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.
I think tickets _____ still be available.
Hint: Expression of uncertainity

Fill in the blank with the most appropriate modal verb.
The rocket _____ clock a supersonic speed comfortably. (ability)

Fill in the blank with the most appropriate modal verb.
They ________ go for trekking today. (Not so strong possibility)

Fill in the blank with the most appropriate modal verb.
_________ I come in, Mr. Woodrock? (Seeking permission, polite and formal)

Fill in the blank with the most appropriate modal verb.
The new team ___________ do it. (Suggestion)

Identify the modal auxiliary in the following sentence.
This might be his last gamble.

‘Could you please move?’: ‘Please’ in this sentence is a modal auxiliary.

What does the modal auxiliary in the following sentence denote?
Perhaps she could ask for another serving of biriyani.

What does the modal auxiliary in the following sentence denote?
Could you keep the elevator doors open?

Complete the given sentence with the most fitting question tag.
No one picked up the dry-cleaning, _____?

The complementizer in the sentence ‘He could not tell whether the sun still shone on the earth or not’ can be substituted with ‘if’.
The given statement is:

“They want to see what all the fuss is about.” In this sentence, the clause ‘what all the fuss is about’ is the object of the verb ______________.

Complete the given sentence with the most fitting question tag.
Everyone submitted their notebooks, _____?

I was consulting with him _________ to consider their proposal.

From the following options, identify the content type question.

“Akbar created a new religion.” The interrogative form of this sentence is ____________

Check whether the following sentence is correct with regard to the use of punctuation marks. Ali Martin wrote, “This match will decide the fate of the series.”