What does jessica say about the reaction to her new album ответы

What does jessica say about the reaction to her new album ответы

1) Some people thought she’s shallow.

2) It was really upsetting for her.

3) She got more criticisms than compliments.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

What does jessica say about the reaction to her new album ответы

1) She rather likes them.

2) They scare her.

3) She prefers studio work to them.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

What does jessica say about the reaction to her new album ответы

What does Jessica say about her work on the lyrics?

1) She works on them in the studio.

2) She prefers to invite co-writers.

3) She usually works on them at the end.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

Lyrics are usually the last thing I would do.

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Jessica prefers the working process to be …

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

I’m a control freak, I want to know that everything is sorted.

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What is Jessica’s attitude to live performances?

1) She rather likes them.

2) They scare her.

3) She prefers studio work to them.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

It’s just been really fun.

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Which of the following is TRUE about Jessica’s London show?

1) She had expected a bigger crowd.

2) She was its main artist.

3) She played all the old hits there.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

It was the biggest show I have ever headlined.

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What kind of shows does Jessica dislike?

2) Support shows.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

They are about me being just another pretty girl singing about love and relatioships.

What does jessica say about the reaction to her new album ответы

What does Jessica say about her work on the lyrics?

1) She works on them in the studio.

2) She prefers to invite co-writers.

3) She usually works on them at the end.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

Lyrics are usually the last thing I would do.

Воспользуйтесь плеером, чтобы прослушать запись.

Jessica prefers the working process to be …

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

I’m a control freak, I want to know that everything is sorted.

Воспользуйтесь плеером, чтобы прослушать запись.

What is Jessica’s attitude to live performances?

1) She rather likes them.

2) They scare her.

3) She prefers studio work to them.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

It’s just been really fun.

Воспользуйтесь плеером, чтобы прослушать запись.

Which of the following is TRUE about Jessica’s London show?

1) She had expected a bigger crowd.

2) She was its main artist.

3) She played all the old hits there.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

It was the biggest show I have ever headlined.

Воспользуйтесь плеером, чтобы прослушать запись.

What kind of shows does Jessica dislike?

2) Support shows.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

Interviewer: Hello everyone and welcome to our daily program «Stardom». Today in our studio we have Jessica Summer, a young promising musician. Hello, Jessica.

Jessica: Hello, it’s so nice being here, thank you for inviting me.

Interviewer: Your new album has been warmly welcome by the public. Have you got any critical remarks about it?

Jessica: I’ve got a couple of remarks. They are about me being just another pretty girl singing about love and relationships. I can’t say it was a massive take down, but I found it personally offensive. I think the reason that stuck with me was because I found it so frustrating, but actually, that’s kind of the only proper negative feedback that I’ve had. Then, in terms of compliments I just can’t really remember them because you always tend to stick a bit more on the negatives, don’t you?

Interviewer: Would you consider yourself a self-critical person?

Jessica: Yeah, massively. I’m self-critical, I don’t want to show anyone anything until the work is done, I self-edit so harshly at the beginning. I would never let anyone hear something that I wasn’t happy with, but then once I’ve made it I’m also not going to turn around and go. If I’m putting it out, anything creative that I do, I think that it’s good, otherwise I wouldn’t put it out, but I am self-critical across the board and in other areas of my life, I think.

Interviewer: How fully formed are your songs by the time you bring them to a producer, show someone lyrics or play them for someone?

Jessica: Like completely finished. Lyrics are usually the last things that I would do, so a couple of the lyrics I will be finishing in the studio last minute, because we’ve got to get the vocals recorded. I sometimes find lyrics quite difficult towards the end, but it’s done musically in terms of the structure and terms of the arrangement. So it’s awfully formed. I have no one else involved in the writing process. I would hate to feel that I was going into the studio with something wishy-washy and not done. It’s because I’m a control freak, so I want to know that everything is sorted and what’s going to come out in the end, obviously with a bit of leeway.

Interviewer: What has the experience been like playing these songs live?

Jessica: It’s just been really fun! It’s the music I always imagined myself playing when I was a kid. It’d be nice to use my instrument a bit more rather than just propping just a whole song with a guitar and my vocals. There is so much more energy in the crowd as well, and it’s nice to feel like you’re a part of something in a room rather than just performing for a crowd. So I’ve enjoyed it loads and it’s also been an exciting challenge, because recently I have been taking all the material and basically giving it a bit of a second life, and making it sound like it could potentially belong on this record, which has been really fun.

Interviewer: Are there any particular shows that stand out in your mind?

Jessica: On a tour the big London show is always going to be very exciting. A couple of weeks ago I played in London, which is the biggest show I’ve ever headlined, that was a real moment and it was playing all the new material. It was amazing to see the shift and seeing everyone singing everything back, but there have been smaller shows in my life that made me happy, but bad shows. It’s always the support shows, isn’t it? It’s when you are struggling to fight against the noise of the crowd, that’s always quite soul destroying.

Interviewer: Thank you, Jessica. It has been a real pleasure talking with you today.

They are about me being just another pretty girl singing about love and relatioships.

What does jessica say about the reaction to her new album ответы

При выполнении заданий с кратким ответом впишите в поле для ответа цифру, которая соответствует номеру правильного ответа, или число, слово, последовательность букв (слов) или цифр. Ответ следует записывать без пробелов и каких-либо дополнительных символов. Для выполнения заданий 1, 2 прослушайте аудиозапись и выпишите правильную последовательность цифр. Для выполнения заданий 3—9 прослушайте интервью и выберите один из трех вариантов ответа. В задании 10 установите соответствие между текстами A—G и заголовками 1—8. В задании один заголовок лишний. В задании 11 прочитайте текст и заполните пропуски A—F частями предложений, обозначенными цифрами 1—7. Одна из частей в списке 1—7 лишняя. Прочитайте текст и выполните задания 12—18. В каждом задании запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

При выполнении заданий 19—25, преобразуйте, если необходимо, слова, напечатанные заглавными буквами так, чтобы они грамматически соответствовали содержанию текстов. Записывайте ответы без пробелов, запятых и других дополнительных символов; не копируйте слова-ответы из браузера, вписывайте их, набирая с клавиатуры. При выполнении заданий 26—31, образуйте от слов, напечатанных заглавными буквами однокоренные слова так, чтобы они грамматически и лексически соответствовали содержанию текста. Записывайте ответы без пробелов, запятых и других дополнительных символов; не копируйте слова-ответы из браузера, вписывайте их, набирая с клавиатуры. Прочитайте текст с пропусками, обозначенными номерами 32—38. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Если вариант задан учителем, вы можете вписать или загрузить в систему ответы к заданиям с развернутым ответом. Учитель увидит результаты выполнения заданий с кратким ответом и сможет оценить загруженные ответы к заданиям с развернутым ответом. Выставленные учителем баллы отобразятся в вашей статистике.

Вы услышите 6 высказываний. Установите соответствие между высказываниями каждого говорящего A–F и утверждениями, данными в списке 1–7. Используйте каждое утверждение, обозначенное соответствующей цифрой, только один раз. В задании есть одно лишнее утверждение. Вы услышите запись дважды.

Воспользуйтесь плеером, чтобы прослушать запись.

1. I would not return to using chemical cleaners that are bad for my family.

2. I find recycling necessary to keep our planet clean.

3. I would like people to care more about our planet water resources.

4. I am sure our clean and safe future is worth new green habits today.

5. I am concerned about the long-term effects of pollution in big cities.

6. I am trying to stop people from polluting the air.

7. I want people stop and think about the way we treat waste.

Воспользуйтесь плеером, чтобы прослушать запись.

A) Peter seldom goes to the library.

B) Peter is satisfied with his term studies.

C) Peter hopes to do as well in the course as his classmates.

D) Peter prefers to work at his computer at home.

E) Jane does not expect Peter to pass his language exam.

F) Jane has always been the best student in the group.

G) Jane has some problems with one of her subjects.

Запишите в ответ цифры, расположив их в порядке, соответствующем буквам:

Воспользуйтесь плеером, чтобы прослушать запись.

What does Jessica say about the reaction to her new album?

1) Some people thought she’s shallow.

2) It was really upsetting for her.

3) She got more criticisms than compliments.

Воспользуйтесь плеером, чтобы прослушать запись.

What kind of person does Jessica appear to be?

Воспользуйтесь плеером, чтобы прослушать запись.

What does Jessica say about her work on the lyrics?

1) She works on them in the studio.

2) She prefers to invite co-writers.

3) She usually works on them at the end.

Воспользуйтесь плеером, чтобы прослушать запись.

Jessica prefers the working process to be …

Воспользуйтесь плеером, чтобы прослушать запись.

What is Jessica’s attitude to live performances?

1) She rather likes them.

2) They scare her.

3) She prefers studio work to them.

Воспользуйтесь плеером, чтобы прослушать запись.

Which of the following is TRUE about Jessica’s London show?

1) She had expected a bigger crowd.

2) She was its main artist.

3) She played all the old hits there.

Воспользуйтесь плеером, чтобы прослушать запись.

What kind of shows does Jessica dislike?

2) Support shows.

Установите соответствие между заголовками 1–8 и текстами A–G. Запишите свои ответы в таблицу. Используйте каждую цифру только один раз. В задании есть один лишний заголовок.

1. Places to stay in

2. Public transport

3. Cultural differences

5. Camping holidays

6. Contacts with neighbours

7. Different landscapes

A. Sweden is a land of contrast, from the Danish influence of the southwest to the Laplanders wandering freely with their reindeer in the wild Arctic north. And while Sweden in cities is stylish and modern, the countryside offers many simpler pleasures for those who look for peace and calm. The land and its people have an air of reserved calm, and still the world’s best-selling pop group Abba, which used to attract crowds of hysterical fans, come from Sweden.

B. Historically, Sweden has an interesting story. Its dealings with the outside world began, in fact, during Viking times, when in addition to the well- known surprise attacks of the nearby lands, there was much trading around the Baltic, mostly in furs and weapons. Swedish connections with the other Scandinavian countries, Norway and Denmark, have been strong since the Middle Ages. The monarchies of all three are still closely linked.

C. Sweden’s scenery has a gentler charm than that of neighbouring Norway’s rocky coast. Much of Sweden is forested, and there are thousands lakes, notably large pools near the capital, Stockholm. The lakeside resort in the centre of Sweden is popular with Scandinavians, but most visitors prefer first the Baltic islands. The largest island, Gotland, with its ruined medieval churches, is a particular attraction.

D. Sweden boasts a good range of hotels, covering the full spectrum of prices and standards. Many of them offer discounts in summer and at weekends during the winter. In addition, working farms throughout Sweden offer accommodation, either in the main farmhouse or in a cottage nearby. Forest cabins and chalets are also available throughout the country, generally set in beautiful surroundings, near lakes, in quiet forest glades or on an island in some remote place.

E. Living in a tent or caravan with your family or friends at weekends and on holiday is extremely popular in Sweden and there is a fantastic variety of special places. Most are located on a lakeside or by the sea with free bathing facilities close at hand. There are over 600 campsites in the country. It is often possible to rent boats or bicycles, play mini-golf or tennis, ride a horse or relax in a sauna. It is also possible to camp in areas away from other houses.

F. Swedes like plain meals, simply prepared from the freshest ingredients. As a country with a sea coast and many freshwater lakes, fish dishes are found on all hotel or restaurant menus. Top-class restaurants in Sweden are usually fairly expensive, but even the smallest towns have reasonably priced self-service restaurants and grill bars. Many restaurants all over Sweden offer a special dish of the day at a reduced price that includes main course, salad, soft drink and coffee.

G. Stockholm has a variety of pubs, cafes, clubs, restaurants, cinemas and theatres but in the country evenings tend to be very calm and peaceful. From August to June the Royal Ballet performs in Stockholm. Music and theatre productions take place in many cities during the summer in the open air. Outside Stockholm in the 18th-century palace there are performances of 18th-century opera very popular with tourists.

Прочитайте текст и заполните пропуски A–F частями предложений, обозначенными цифрами 1–7. Одна из частей в списке 1–7 — лишняя. Занесите цифры, обозначающие соответствующие части предложений, в таблицу.

Partula Snail, Red Crowned Crane, Arabian Oryx, Golden Lion Tamarin, Persian Leopard, Asiatic Lion and Sumatran Tiger are just some of the species London Zoo is helping to save.

Whatever you decide, you will have a great day. We have left no stone unturned to make sure you do!

1. such as hunting exotic animals and selling furs

2. as well as the ins and outs of being a keeper at London Zoo

3. which take place every day, from

4. because they see and touch them close up

5. despite the serious side to our work

6. which demand much time and effort

7. that is not counting every ant in the colony

At the beginning of the article the author reminds that the new media technologies …

1) turn our attention off morals.

2) used to frighten the majority of people.

3) improve human brainpower.

4) could make people less intelligent.

Mind over mass media

New forms of media have always caused moral panic: the printing press, newspapers, and television were all once denounced as threats to their consumers’ brainpower and moral fiber. So too with electronic technologies. PowerPoint, we’re told, is reducing discourse to bullet points. Search engines lower our intelligence, encouraging us to skim on the surface of knowledge rather than dive to its depths. Twitter is shrinking our attention spans.

But such panic often fails basic reality checks. When comic books were accused of turning juveniles into criminals in the 1950s, crime was falling to record lows. The decades of television, transistor radios and rock videos were also decades in which I.Q. scores rose continuously.

For a reality check today, take the state of science, which demands high levels of brainwork. These days scientists are never far from their e-mail, rarely touch paper and cannot lecture without PowerPoint. If electronic media were hazardous to intelligence, the quality of science would be plummeting. Yet discoveries are multiplying like fruit flies, and progress is dizzying.

Critics of new media sometimes use science itself to press their case, citing research that shows how “experience can change the brain”. But cognitive neuroscientists roll their eyes at such talk. Experience does not remake the basic information-processing capacities of the brain. Speed-reading programs have long claimed to do just that, but the verdict was rendered by Woody Allen after he read “War and Peace” in one sitting: “It was about Russia.”

Moreover, the effects of experience are highly specific to the experiences themselves. If you train people to do one thing, they get better at doing that thing, but almost nothing else. Music doesn’t make you better at math. Accomplished people immerse themselves in their fields. Novelists read lots of novels, scientists read lots of science.

The effects of consuming electronic media are also likely to be far more limited than the panic implies. Media critics write as if the brain takes on the qualities of whatever it consumes, the informational equivalent of “you are what you eat”. As with primitive peoples who believe that eating fierce animals will make them fierce, they assume that reading Twitter postings turns your thoughts into Twitter postings.

Yes, the continual arrival of information packets can be distracting or addictive. But distraction is not a new phenomenon. The solution is to develop strategies of self-control. Turn off Twitter when you work and put away your smartphone at dinner time.

And to encourage intellectual depth, don’t rail at PowerPoint or Google. It’s not as if habits of deep reflection or thorough research ever came naturally to people. They must be acquired in universities, and maintained with constant analysis, criticism and debate. They are not granted by propping a heavy encyclopedia on your lap, nor are they taken away by efficient access to information on the Internet.

The new media have caught on for a reason. Knowledge is increasing exponentially; human brainpower and waking hours are not. Fortunately, the Internet and information technologies are helping us manage and search our collective intellectual output at different scales, from Twitter to e-books and online encyclopedias. Far from making us stupid, these technologies are the only things that will keep us smart.

What has life proved about electronic technologies according to the author?

1) Scientists can’t do without them.

2) They could increase the crime level.

3) They don’t disrupt brainwork.

4) Television influences intelligence.

Mind over mass media

New forms of media have always caused moral panic: the printing press, newspapers, and television were all once denounced as threats to their consumers’ brainpower and moral fiber. So too with electronic technologies. PowerPoint, we’re told, is reducing discourse to bullet points. Search engines lower our intelligence, encouraging us to skim on the surface of knowledge rather than dive to its depths. Twitter is shrinking our attention spans.

But such panic often fails basic reality checks. When comic books were accused of turning juveniles into criminals in the 1950s, crime was falling to record lows. The decades of television, transistor radios and rock videos were also decades in which I.Q. scores rose continuously.

For a reality check today, take the state of science, which demands high levels of brainwork. These days scientists are never far from their e-mail, rarely touch paper and cannot lecture without PowerPoint. If electronic media were hazardous to intelligence, the quality of science would be plummeting. Yet discoveries are multiplying like fruit flies, and progress is dizzying.

Critics of new media sometimes use science itself to press their case, citing research that shows how “experience can change the brain”. But cognitive neuroscientists roll their eyes at such talk. Experience does not remake the basic information-processing capacities of the brain. Speed-reading programs have long claimed to do just that, but the verdict was rendered by Woody Allen after he read “War and Peace” in one sitting: “It was about Russia.”

Moreover, the effects of experience are highly specific to the experiences themselves. If you train people to do one thing, they get better at doing that thing, but almost nothing else. Music doesn’t make you better at math. Accomplished people immerse themselves in their fields. Novelists read lots of novels, scientists read lots of science.

The effects of consuming electronic media are also likely to be far more limited than the panic implies. Media critics write as if the brain takes on the qualities of whatever it consumes, the informational equivalent of “you are what you eat”. As with primitive peoples who believe that eating fierce animals will make them fierce, they assume that reading Twitter postings turns your thoughts into Twitter postings.

Yes, the continual arrival of information packets can be distracting or addictive. But distraction is not a new phenomenon. The solution is to develop strategies of self-control. Turn off Twitter when you work and put away your smartphone at dinner time.

And to encourage intellectual depth, don’t rail at PowerPoint or Google. It’s not as if habits of deep reflection or thorough research ever came naturally to people. They must be acquired in universities, and maintained with constant analysis, criticism and debate. They are not granted by propping a heavy encyclopedia on your lap, nor are they taken away by efficient access to information on the Internet.

The new media have caught on for a reason. Knowledge is increasing exponentially; human brainpower and waking hours are not. Fortunately, the Internet and information technologies are helping us manage and search our collective intellectual output at different scales, from Twitter to e-books and online encyclopedias. Far from making us stupid, these technologies are the only things that will keep us smart.

According to the author, the arguments of the critics of new media make neuroscientists feel …

Mind over mass media

New forms of media have always caused moral panic: the printing press, newspapers, and television were all once denounced as threats to their consumers’ brainpower and moral fiber. So too with electronic technologies. PowerPoint, we’re told, is reducing discourse to bullet points. Search engines lower our intelligence, encouraging us to skim on the surface of knowledge rather than dive to its depths. Twitter is shrinking our attention spans.

But such panic often fails basic reality checks. When comic books were accused of turning juveniles into criminals in the 1950s, crime was falling to record lows. The decades of television, transistor radios and rock videos were also decades in which I.Q. scores rose continuously.

For a reality check today, take the state of science, which demands high levels of brainwork. These days scientists are never far from their e-mail, rarely touch paper and cannot lecture without PowerPoint. If electronic media were hazardous to intelligence, the quality of science would be plummeting. Yet discoveries are multiplying like fruit flies, and progress is dizzying.

Critics of new media sometimes use science itself to press their case, citing research that shows how “experience can change the brain”. But cognitive neuroscientists roll their eyes at such talk. Experience does not remake the basic information-processing capacities of the brain. Speed-reading programs have long claimed to do just that, but the verdict was rendered by Woody Allen after he read “War and Peace” in one sitting: “It was about Russia.”

Moreover, the effects of experience are highly specific to the experiences themselves. If you train people to do one thing, they get better at doing that thing, but almost nothing else. Music doesn’t make you better at math. Accomplished people immerse themselves in their fields. Novelists read lots of novels, scientists read lots of science.

The effects of consuming electronic media are also likely to be far more limited than the panic implies. Media critics write as if the brain takes on the qualities of whatever it consumes, the informational equivalent of “you are what you eat”. As with primitive peoples who believe that eating fierce animals will make them fierce, they assume that reading Twitter postings turns your thoughts into Twitter postings.

Yes, the continual arrival of information packets can be distracting or addictive. But distraction is not a new phenomenon. The solution is to develop strategies of self-control. Turn off Twitter when you work and put away your smartphone at dinner time.

And to encourage intellectual depth, don’t rail at PowerPoint or Google. It’s not as if habits of deep reflection or thorough research ever came naturally to people. They must be acquired in universities, and maintained with constant analysis, criticism and debate. They are not granted by propping a heavy encyclopedia on your lap, nor are they taken away by efficient access to information on the Internet.

The new media have caught on for a reason. Knowledge is increasing exponentially; human brainpower and waking hours are not. Fortunately, the Internet and information technologies are helping us manage and search our collective intellectual output at different scales, from Twitter to e-books and online encyclopedias. Far from making us stupid, these technologies are the only things that will keep us smart.

What does the example of Woody Allen’s reading of “War and Peace” illustrate?

1) Scientific research of brain supports critics of new media.

2) Technology hardly influences the way brain deals with information.

3) Experience with technology is significant for intellectual abilities.

4) Speed-reading programs improve information-processing.

Mind over mass media

New forms of media have always caused moral panic: the printing press, newspapers, and television were all once denounced as threats to their consumers’ brainpower and moral fiber. So too with electronic technologies. PowerPoint, we’re told, is reducing discourse to bullet points. Search engines lower our intelligence, encouraging us to skim on the surface of knowledge rather than dive to its depths. Twitter is shrinking our attention spans.

But such panic often fails basic reality checks. When comic books were accused of turning juveniles into criminals in the 1950s, crime was falling to record lows. The decades of television, transistor radios and rock videos were also decades in which I.Q. scores rose continuously.

For a reality check today, take the state of science, which demands high levels of brainwork. These days scientists are never far from their e-mail, rarely touch paper and cannot lecture without PowerPoint. If electronic media were hazardous to intelligence, the quality of science would be plummeting. Yet discoveries are multiplying like fruit flies, and progress is dizzying.

Critics of new media sometimes use science itself to press their case, citing research that shows how “experience can change the brain”. But cognitive neuroscientists roll their eyes at such talk. Experience does not remake the basic information-processing capacities of the brain. Speed-reading programs have long claimed to do just that, but the verdict was rendered by Woody Allen after he read “War and Peace” in one sitting: “It was about Russia.”

Moreover, the effects of experience are highly specific to the experiences themselves. If you train people to do one thing, they get better at doing that thing, but almost nothing else. Music doesn’t make you better at math. Accomplished people immerse themselves in their fields. Novelists read lots of novels, scientists read lots of science.

The effects of consuming electronic media are also likely to be far more limited than the panic implies. Media critics write as if the brain takes on the qualities of whatever it consumes, the informational equivalent of “you are what you eat”. As with primitive peoples who believe that eating fierce animals will make them fierce, they assume that reading Twitter postings turns your thoughts into Twitter postings.

Yes, the continual arrival of information packets can be distracting or addictive. But distraction is not a new phenomenon. The solution is to develop strategies of self-control. Turn off Twitter when you work and put away your smartphone at dinner time.

And to encourage intellectual depth, don’t rail at PowerPoint or Google. It’s not as if habits of deep reflection or thorough research ever came naturally to people. They must be acquired in universities, and maintained with constant analysis, criticism and debate. They are not granted by propping a heavy encyclopedia on your lap, nor are they taken away by efficient access to information on the Internet.

The new media have caught on for a reason. Knowledge is increasing exponentially; human brainpower and waking hours are not. Fortunately, the Internet and information technologies are helping us manage and search our collective intellectual output at different scales, from Twitter to e-books and online encyclopedias. Far from making us stupid, these technologies are the only things that will keep us smart.