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Question 1
Excerpt from The Musician's Daughter
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
How does paragraph 1 fit into the narrative structure of the excerpt?
Your Answer: Option(s)
Correct Answer: Option(s) A
Rationale
Paragraph 1 establishes the setting and the reason the narrator's family came to the palace.
The first paragraph introduces the reader to the context of the story. It provides information about the location (Esterhaza, a palace in Sopron, Hungary) and the event (a concert in which the narrator's father is participating). It also gives the reason why the narrator's family is at the palace - because the prince's household has moved there.
A) Paragraph 1 establishes the setting and the reason the narrator's family came to the palace.
This statement is correct. The first paragraph indeed sets up the time and place in which the story is happening and provides the reason for the family's presence at the palace.
B) Paragraph 1 provides details about the narrator's feelings about the events of the evening.
The first paragraph does not delve into the narrator's feelings about the events of the evening. It provides context and setting, but not the narrator's emotional response.
C) Paragraph 1 includes background about a conflict that arose from the narrator's feelings about fashion.
There is no mention of any conflict, especially one related to the narrator's feelings about fashion, in the first paragraph. The focus is on setting the scene and introducing the context.
D) Paragraph 1 describes the narrator's father and his performance at the concert.
While the first paragraph does mention the narrator's father and the concert, it does not provide a detailed description of his performance. The focus is more on setting the scene for the story.
Conclusion
The first paragraph of the excerpt from The Musician's Daughter by Susanne Dunlap establishes the setting and the reason why the narrator's family is at the palace. The other options incorrectly suggest that the paragraph explores the narrator's feelings, details a conflict, or describes the father's performance, none of which is the primary focus of this part of the text.
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Question 2
Excerpt from The Musician's Daughter
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
The rooms were very grand. How would the meaning of this sentence be changed if the word 'grand' were replaced with 'large'?
Your Answer: Option(s)
Correct Answer: Option(s) A
Rationale
The sentence would describe the size of the room but not their magnificence.
The adjective 'grand' not only refers to the size of the rooms but also conveys a sense of opulence, elegance, and magnificence. If replaced with 'large', the sentence would only communicate the size of the rooms, losing the aspect of their grandeur and luxuriousness.
A) The sentence would describe the size of the room but not their magnificence.
This is the correct choice. The word "grand" in the context of the sentence implies both size and magnificence. Replacing it with "large" would strip the sentence of its implication of magnificence, resulting in a sentence that describes only the size of the rooms.
B) The sentence would provide information about the historical period in which these rooms were used.
This is incorrect because neither "grand" nor "large" directly provides information about the historical period. These words describe the size and quality of the rooms, but not the era they were used in.
C) The sentence would offer insight into the particular decorations of the rooms but not the dimensions.
This is not accurate. The word "large" does not provide any information about the decorations of the rooms. It only refers to the size of the rooms, not their decor.
D) The sentence would refer to the number of people the rooms would accommodate.
While the word "large" could theoretically imply that a room could accommodate more people, this is not the primary meaning conveyed in the context of the sentence. Therefore, this choice is incorrect.
Conclusion
In the context of the sentence, the word "grand" conveys both the size and magnificence of the rooms at Esterhaza. Replacing "grand" with "large" would reduce the sentence's meaning to only describing the size of the rooms, losing the implication of their opulence and grandeur. The other choices incorrectly interpret the effects of this word replacement and therefore are not the correct answer.
Question 3
Excerpt from The Musician's Daughter
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
What technique does the author use to reveal the narrator's perspective about the ladies at the concert?
Your Answer: Option(s)
Correct Answer: Option(s) A
Rationale
She compares the ladies to perfectly decorated dolls.
The author uses a metaphor to illustrate the narrator's perspective on the ladies at the concert. This comparison allows the reader to understand the narrator's impressions of the ladies as being so flawlessly adorned that they appeared doll-like in their perfection.
A) She compares the ladies to perfectly decorated dolls.
The author does indeed use this technique. The narrator says, "I thought they looked like dolls; their faces were so perfect." This comparison to dolls tells us that the narrator saw the ladies as being meticulously and flawlessly adorned, much like perfect dolls.
B) She repeats descriptive words to show the ladies' perfection.
This choice is incorrect. While the author uses descriptive words to depict the scene, there is no repetition of these words used to enhance the sense of the ladies' perfection. The emphasis is more on the diversity of details, not their repetition.
C) She exaggerates the appearance of the ladies.
This choice is incorrect as the author does not use exaggeration as a technique to present the narrator's perspective. Instead, she provides a detailed description to portray the scene, but this does not constitute exaggeration.
D) She describes two extremes of the ladies' dresses.
This choice is incorrect because the author does not describe two extremes of the ladies' dresses. The description focuses on the general splendor and extravagance of the ladies' attire, not on contrasting extremes.
Conclusion
The author employs the technique of comparing the ladies at the concert to perfectly decorated dolls to reveal the narrator's perspective. This metaphor effectively conveys the narrator's impression of the ladies as being so meticulously adorned that they appeared almost unreal in their perfection. The other options, repeating descriptive words, exaggerating the ladies' appearance, and describing extremes of their dresses, are not techniques employed by the author in this passage.
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Question 4
Excerpt from The Musician's Daughter
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
by Susanne Dunlap
I thought a lot, at the beginning, about my father playing the violin. I still remember the first time I ever saw a concert. I was very small, and we had just come to Esterhaza, a magnificent palace in Sopron, Hungary, when the prince's household moved there from his winter palace, at Eisenstadt, near Vienna. I think it may have been the first concert Papa took part in there. I had a new dress for the occasion, and Mama looked beautiful. I don't think Toby was born yet, or if he was, he was a small baby and stayed in our rooms with a nurse.
The palace at Esterháza was so new that it still smelled of raw wood and paint. The rooms were very grand. I had never seen so many candles in one place before. And they were expensive wax candles, not foul-smelling tallow. We stood to the side to watch the fine ladies enter. I thought they looked like dolls; their faces were so perfect. Later my mother told me that they painted them with white lead to make their skin artificially smooth and pale, and then rubbed rouge into their cheeks and lips, and drew lines of charcoal around their eyes so they would appear larger. And the headdresses-in those days the fashion was to have hair that towered up, stuck into place with diamond combs, with ribbons and pearls festooned around. And no matter what color it was naturally, ladies powdered their hair to snowy whiteness, so that the light of the candies was magnified by the glow from the people themselves.
And the men, too, were powdered and patched. Their gold buttons and lace were almost as gaudy as the ladies' finery. But the enormous panniers that held the ladies' skirts out to the side so far that they had to move sideways through doorways fascinated me most of all. I could barely be persuaded to turn my eyes to the orchestra when the concert started.
We were not seated with the guests. In fact, I think we were tucked away in an anteroom. The door was open so we could see through, and everyone pushed me forward to let me watch my father, who looked up now and again from the music and gave me a quick smile. The candlelight danced over the rich wood of his violin, the beautiful Italian instrument, an old Amati, that my grandfather had given him. Kapellmeister Haydn-who was also my godfather-sat at the harpsichord, smiling broadly all the time, waving one hand in the air to direct, then putting it back on the keys and instead using his head, bobbing and nodding to bring the winds in, or to indicate the entrance for the cellos. He looked like the music, 1 remember thinking. I wish I could bring that particular sound to my mind, but it has since blended with countless, other concert. I’ll always remember what it looked like, though. The light shimmering glow of everything and everyone.
sselect two of the four details from the excerpt into the chart to show which main idea each supports. 1. The narrator is imaginative. 2. The narrator is observant.
Your Answer: Option(s)
Correct Answer: Option(s) A, B
Rationale
The correct choices that demonstrate the narrator's imaginativeness and observativeness are A) The narrator thinks the director looks like the music, and B) The narrator notices the candlelight reflected off the violin.
The passage shows the narrator's keen observation skills and imaginative mind as they describe the scene of the concert. The narrator's details about the director and the violin's appearance under the candlelight provide insights into the main ideas that the narrator is observant and imaginative.
A) The narrator thinks the director looks like the music.
This choice illustrates the narrator's imaginative nature. The narrator doesn't just observe the director physically; they also associate him with the music he is directing. This involves a creative process that goes beyond direct observation, as it requires the narrator to form a non-literal, imaginative connection between the director's physicality and the abstract concept of music.
B) The narrator notices the candlelight reflected off the violin.
This detail showcases the narrator's observant nature. They notice the way the light interacts with the violin, a small detail that many might overlook in the grandeur of the concert. This keen observation of small details highlights the narrator's attentiveness to their surroundings.
C) The narrator stands to the side while the ladies pass by.
While this detail shows the narrator's position during the event, it doesn't directly support the idea that the narrator is observant or imaginative. Standing to the side is a physical action and doesn't provide direct insight into the narrator's mental or observational skills.
D) The narrator has a new dress for the concert.
This detail is about the narrator's attire for the concert, but it doesn't necessarily show that the narrator is observant or imaginative. Wearing a new dress is a fact about the narrator, not a demonstration of their ability to observe or imagine.
Conclusion
The narrator's imagination is evident in their metaphorical thinking, as shown by their description of the director looking like the music. Their observant nature is reflected in their attention to detail, specifically their noticing the candlelight reflecting off the violin. Other details about the narrator's position and attire do not directly support the main ideas that the narrator is observant and imaginative.
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Question 5
This Landfill Is No Dump
1. There are hard sells, and then there are really hard sells. Anyone who has ever tried to build a landfill is probably keenly aware of this. People know that landfills are a disgusting, if necessary, evil and that they spread disease and pestilence throughout populated communities. People want them located as far from their homes and businesses as possible. They do not want trash blowing onto their properties, nor do they want to be downwind of putrid air that ruins their time outdoors.
2. For those in the trash disposal business, trying to open a new landfill site and fighting the legal battles that this often brings are par for the course. However, a trash disposal company south of Austin, Texas, has created a successful model for keeping everyone happy-from rural neighbors to local environmentalists. How did the owners of the company manage this? They chose to take themselves out of the fight. They are so committed to running a model business and being a good neighbor that, over time, opposition to their landfill has gone away completely.
3. Texas Disposal Systems (TDS) is a profitable business that operates a landfill, recycling/resale center, composting operation, conference center, and exotic animal farm in Creedmoor, Texas. Brothers and co-owners Bob and Jim Gregory set high expectations for themselves, and this has been key to their success. Although all solid waste management companies in a state are supposed to adhere to the same regulations, some companies try to get by with the least possible effort. Some companies put on a thin veneer of being good neighbors while they really focus on their own self-interests.
4. The Gregory brothers are different in this regard. For instance, they put their own facilities, notably a pavilion that hosts fund-raisers and dinners, downwind from the landfill's working face. Bob Gregory explains that showing people the reality of the operation is important. The owners would not ask a neighbor to put up with anything that they would not put up with themselves. They have prioritized controlling odors and picking up stray trash so successfully that the more than 10,000 people who visit the site annually are more aware of the pleasant views and clean, fresh air than the landfill nearby.
5. Two of the biggest challenges for waste disposal operations are odors and the trash itself. About 2,000 tons of trash is handled daily at the Creedmoor facility. The facility keeps the working part of the landfill as small as it can and also uses biofilters, recycle sprays, and other treatments to mitigate odors. The owners also built high fences to help prevent trash from blowing away. Furthermore, they have a street crew operating six days a week to patrol the area and catch any stray trash that makes it beyond the fences.
6. Searching for the right fences actually inspired the Gregory brothers to include exotic animals on the land. They did not want to use industrial chain-link fences around the property because they thought that would send the wrong message to the neighbors. The land would look forbidding rather than welcoming. The brothers wanted to find functional, but inviting, fences. As they shopped around, they saw a number of high fences on exotic animal farms and thought that maybe their neighbors would like the idea of animals on the land surrounding the landfill. The neighbors did, indeed, like the animals. Currently, hundreds of acres owned by TDS are home to more than two thousand native and exotic animals of eighty species.
7. TDS also reaches out to the community by allowing various charity groups to host fund-raisers on the pavilion. About 150 groups hold events each year, raising thousands of dollars per event. There are also two beautifully appointed cabins on the property designated for community use. In addition, TDS hosts its own outreach events, like hosting volunteers from Big Brothers Big Sisters on the ranch.
8. Moreover, TDS runs a drop-off center for items like grills, tools, bicycles condition and sells them at a garage sale, TDS also has a retail outlet for Compost products and sells topsoil, mulch, and compost produced an-site.
9. The Gregory brothers provide an example of how to run a profitable business to the needs of the community and is a great neighbor. One bonus of operating so well is that TDS can re-invest money into making improvements rather than fighting opposition in costly legal battles. Ultimately, TDS has shown that it owners mind doing business and are great neighbors, people are willing to welcome and fill in next door
1. There are hard sells, and then there are really hard sells. Anyone who has ever tried to build a landfill is probably keenly aware of this. People know that landfills are a disgusting, if necessary, evil and that they spread disease and pestilence throughout populated communities. People want them located as far from their homes and businesses as possible. They do not want trash blowing onto their properties, nor do they want to be downwind of putrid air that ruins their time outdoors.
2. For those in the trash disposal business, trying to open a new landfill site and fighting the legal battles that this often brings are par for the course. However, a trash disposal company south of Austin, Texas, has created a successful model for keeping everyone happy-from rural neighbors to local environmentalists. How did the owners of the company manage this? They chose to take themselves out of the fight. They are so committed to running a model business and being a good neighbor that, over time, opposition to their landfill has gone away completely.
3. Texas Disposal Systems (TDS) is a profitable business that operates a landfill, recycling/resale center, composting operation, conference center, and exotic animal farm in Creedmoor, Texas. Brothers and co-owners Bob and Jim Gregory set high expectations for themselves, and this has been key to their success. Although all solid waste management companies in a state are supposed to adhere to the same regulations, some companies try to get by with the least possible effort. Some companies put on a thin veneer of being good neighbors while they really focus on their own self-interests.
4. The Gregory brothers are different in this regard. For instance, they put their own facilities, notably a pavilion that hosts fund-raisers and dinners, downwind from the landfill's working face. Bob Gregory explains that showing people the reality of the operation is important. The owners would not ask a neighbor to put up with anything that they would not put up with themselves. They have prioritized controlling odors and picking up stray trash so successfully that the more than 10,000 people who visit the site annually are more aware of the pleasant views and clean, fresh air than the landfill nearby.
5. Two of the biggest challenges for waste disposal operations are odors and the trash itself. About 2,000 tons of trash is handled daily at the Creedmoor facility. The facility keeps the working part of the landfill as small as it can and also uses biofilters, recycle sprays, and other treatments to mitigate odors. The owners also built high fences to help prevent trash from blowing away. Furthermore, they have a street crew operating six days a week to patrol the area and catch any stray trash that makes it beyond the fences.
6. Searching for the right fences actually inspired the Gregory brothers to include exotic animals on the land. They did not want to use industrial chain-link fences around the property because they thought that would send the wrong message to the neighbors. The land would look forbidding rather than welcoming. The brothers wanted to find functional, but inviting, fences. As they shopped around, they saw a number of high fences on exotic animal farms and thought that maybe their neighbors would like the idea of animals on the land surrounding the landfill. The neighbors did, indeed, like the animals. Currently, hundreds of acres owned by TDS are home to more than two thousand native and exotic animals of eighty species.
7. TDS also reaches out to the community by allowing various charity groups to host fund-raisers on the pavilion. About 150 groups hold events each year, raising thousands of dollars per event. There are also two beautifully appointed cabins on the property designated for community use. In addition, TDS hosts its own outreach events, like hosting volunteers from Big Brothers Big Sisters on the ranch.
8. Moreover, TDS runs a drop-off center for items like grills, tools, bicycles condition and sells them at a garage sale, TDS also has a retail outlet for Compost products and sells topsoil, mulch, and compost produced an-site.
9. The Gregory brothers provide an example of how to run a profitable business to the needs of the community and is a great neighbor. One bonus of operating so well is that TDS can re-invest money into making improvements rather than fighting opposition in costly legal battles. Ultimately, TDS has shown that it owners mind doing business and are great neighbors, people are willing to welcome and fill in next door
Which aspect of the evening does the narrator claim she finds most captivating?
Your Answer: Option(s)
Correct Answer: Option(s) A
Rationale
The aspect of the evening that the narrator claims she finds most captivating is the style of the ladies' skirts.
In the extract, the narrator describes being fascinated by the enormous panniers that held the ladies' skirts out so far that they had to move sideways through doorways. This is a specific detail she brings attention to and indicates she was captivated by their appearance and style.
A) the style of the ladies' skirts
The narrator explicitly mentions the ladies' skirts and how they fascinated her most of all. She was so captivated by them that she could barely be persuaded to turn her eyes to the orchestra when the concert started. This suggests that the style of the ladies' skirts was the most captivating aspect of the evening for her.
B) her godfather's nodding head
While the narrator does describe her godfather's nodding head as he directed the orchestra, she does not express particular fascination or interest in this aspect. She merely describes this as part of the scene, not something that captivated her attention.
C) her father's antique violin
The narrator does talk about her father's violin, describing it as a beautiful Italian instrument. However, she does not express any particular fascination with the violin beyond acknowledging its beauty. She does not indicate that this was the most captivating aspect of the evening for her.
D) the elegance of the headdresses
The narrator describes the ladies' headdresses as part of the overall scene, but she does not show any particular interest or fascination with them. She merely observes that the headdresses were fashionable and adorned with ribbons and pearls. This does not suggest that the headdresses were the most captivating aspect of the evening for her.
Conclusion
In the excerpt from The Musician's Daughter, the narrator is most captivated by the style of the ladies' skirts at the concert. She describes them as fascinating and indicates she was so engrossed by them that she could barely turn her attention to the orchestra. While she observes other aspects of the scene, such as her godfather's nodding head, her father's violin, and the elegance of the headdresses, she does not express the same level of interest or fascination with these details.
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