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W: Good. That will get the ball rolling.
Q: What does the woman mean？
(18)
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听力原文：M: The light in this dining hall is a little too bright, don't you think？
W: I say it's perfect for a football stadium.
Q: What does the woman mean？
(13)
Our public debates often fly off into the wild blue yonder of fantasy. So it's been with the Federal Communications Commission's new media-ownership rules. We're told that, unless the FCC's decision is reversed, it will worsen the menacing concentration of media power and that this will--to exaggerate only slightly--imperil free speech, the diversity of opinion and perhaps democracy itself. All this is more than overwrought; it completely misrepresents reality.
In the past 30 years, media power has splintered dramatically; people have more choices than ever. Travel back to 1970. There were only three major TV networks (ABC, CBS, NBC); now, there's a fourth (Fox). Then, there was virtually no cable TV; now, 68 percent of households have it. Then, FM radio was a backwater; now there are 5,892 FM stations, up from 2,196 in 1970. Then, there was only one national newspaper (The Wall Street Journal); now, there are two more (USA Today and The New York Times ).
The idea that "big media" has dangerously increased its control over our choices is absurd. Yet much of the public, including journalists and politicians, believe religiously in this myth. They confuse size with power. It's true that some gigantic media companies are getting even bigger at the expense of other media companies. But it's not true that their power is increasing at the public's expense.
Popular hostility toward big media stems partly from the growing competition, which creates winners and losers and losers complain. Liberals don't like the conservative talk shows, but younger viewers do. A June poll by the Pew Research Center for the People and the Press found that viewers from the ages of 18 to 29 approved of "hosts with strong opinions" by a 58 percent to 32 percent margin. Social conservatives despise what one recently called "the raw sewage, ultra violence, graphic sex and raunchy language" of TV. But many viewers love it. Journalists detest the cost and profit pressures that result from stiff com petition with other news and entertainment outlets.
It's the tyranny of the market: a triumph of popular tastes. Big media companies try to anticipate, shape and profit from these tastes. But media diversity frustrates any one company from imposing its views and values on an unwilling audience. People just click to another channel or cancel their subscription. The paradox is this: the explosion of choices means that almost everyone may be offended by something. A lot of this free-floating hostility has attached itself to the FCC ownership rules.
The backlash is easily exaggerated. In the Pew poll, 51 percent of respondents knew "nothing" of the rules; an additional 36 percent knew only "a little". The rules would permit any company to own television stations in areas with 45 percent of U. S. households, up from 35 percent now. The networks could buy more of their affiliate stations a step that, critics say, would jeopardize "local' control and content.
At best, that's questionable. Network programs already fill most of affiliates' hours. To keep local audiences, any owner must satisfy local demands, especially for news and weather programming. But the symbolic backlash against the FCC and big media does pose one hidden danger. For some U.S. house holds, over-the-air broadcasting is the only TV available, and its long-term survival is hardly ensured. Both cable and the Internet are eroding its audience. In 2002 cable programming had more primetime viewers than broadcast programming for 1he first time (48 percent vs. 46 percent). Streaming video, now primitive, will improve; sooner or later certainly in the next 10 or 15 years--many Web sites will be TV channels. If over-the-air broadcasting declines or disappears, the big losers will be the poor.
Broadcast TV will survive and flourish only if the networks remain profitable enough to bid for and provide competitive entertainment, sports and news pro
SECTION B INTERVIEW
Directions: In this section you will hear everything ONCE ONLY. Listen carefully and then answer the questions that follow. Questions 1 to 5 are based on an interview. At the end of the interview you will be given 10 seconds to answer each of the following five questions.
Now listen to the interview.
听力原文：Terry: Well what have we got this morning？ The first thing I think is to complete the voice-over for that cutlery commercial.
Joyce: No. I' m afraid you are mistaken. Instead of completing that.., erm... We've got to come up with a selling idea for those kitchens. Remember？ The boss will be wanting to see us after lunch, and he'll be expecting it all to be more or less tied up... parcel-like.
Terry: Wouldn't it be better to finish one job before beginning another？ The boss will understand surely.
Joyce: Forgive me Terry if I keep correcting you…but remember there are deadlines. And when there's a deadline the boss is as immovable as a barnacle.
Terry: So we'll have to come up with the parcel. Any ideas？
Joyce: Absolutely none. And my usually grasshopper brain is not at its come-up-with-the-ideas best this morning. Let's have a look at the details.
Terry: Well... whatever its like we've got to make it a dream. Gleaming perfection, slick.., everything fitted-fitted is a key word isn't it-Everything to avoid the impression of the inevitable mess that kitchens actually get in.
Joyce: How clear it is, Mr. Hancock, that you are new to the adman's business. I' m afraid you are on the wrong track. There you are making decisions already... Gatsbying about the office…thinking already that the key works to this ad are going to be... what…"timeless, sophisticated beauty"…"the haute couture of haute cuisine" ... and you've forgotten the adman' s first rule.
Terry: Which is？
Joyce: Hard deskwork, getting to know the facts. You've got to knead the dough before you can ice the cake. Mm. 31ow draw up a pew, will you？ And we'11 look at the ingredients.
Terry: What makes this kitchen different from any other？
Joyce: Now that's a leading question. Mm...Here are some photos. What do you notice？
Terry: They're all different…the photos I mean. In fact it's different from all the other kitchens on the market-that they're all fixed aren't they？ And this is all…well. non-fixed.
Joyce: All the various units can be moved about. Now that's sensible. Because there are times...
Terry: ... there are times arcen't there when for example you need the chopping-board near the sink...and other times when you need it near the cooker…and...
Joyce: So you do know something about kitchens.
Terry: Not kitchens exactly. But. cooking... yes... I do some cooking occasionally.
Joyce: Good for you. The nearest I get to it is jig-sawing tins open and tossing the odd frozen meal into the oven. Perhaps that's what most women now want a kitchen for. simple, function, made to accommodate the haute cuisine of the deep-freezer.
Terry: No. I' m sure you are wrong. Most practical women of the house want a kitchen to be... er... flexible.., er... like kitchen used to be.
Joyce: Well, there's one flexible thing at least about this kitchen. What shall we call it？ Mobility of units？ Anyway the idea's there. So there is one thing different about this kitchen. Terry: Sorry to...er...to correct you Joyce-but there's something else you haven't noticed.
Joyce: Oh, yes？
Terry: You say there's one difference, but in fact there are two. You see most manufacturers of kitchen units produce all the units of the same height.
Joyce: Lot's of working surfaces...yes...but...
Terry: But only one height. It makes production cheaper.
Joyce: Well, surely that's fine. I mean... there is an ideal working height.
Terry: I beg to differ. You're quite wrong you know. Now what are some of the things you need to do in the kitchen？
Joyce: Unwrap sliced bread, defreeze the stuff from the freezer.
A．questionB．liberationC．pollutionD．population
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