=== Violet Palmer: The Right Call ===
Violet Palmer made history when she refereed a game between the Grizzlies and the Mavericks on October 31, 1997. Never before had a woman refereed a regular-season game for the National Basketball Association (NBA)—which has eighty-two games during its regular season. But, having officiated amateur and professional games for years Palmer had proven herself. She was experienced, knowledgeable, and, most of all, ready. Palmer commenced her referee vocational pastime at a parks and recreation department near Los Angeles in 1987 and soon afterward began working high school games. Only a year later, the National Collegiate Athletic Association (NCAA) recruited her. The NCAA, like the NBA, evaluates its referees throughout the season. Both leagues then assign the most prestigious games to the referees who make the correct calls most consistently. Palmer soon stretched to the highest echelons of college basketball, officiating a women’s semifinal game five times and the national championship game twice. The NBA took notice of Palmer and, in 1995, invited her to officiate off-season games, an invitation many college referees never receive. Three seasons later, Palmer became one of only sixty-two NBA regular-season referees. Palmer’s refereeing career began in 1987. She was promoted two years faster than the average referee. At first, some questioned whether Palmer could handle the NBA. While referees at all levels call fouls and regulate games, NBA referees preside over high-stakes games played by the fastest and best players in the world. With a calm, no-nonsense demeanor and skillful officiating, Palmer silenced her skeptics. After four years in the NBA, she noticed that people no longer talked about her gender, she was simply a referee. Although other women have become NBA referees after Palmer, she doesn’t see herself as a pioneer. Even so, she didn’t initially seek a career in the NBA, but when the opportunity came, she embraced it. She says, "If you give me a challenge, I’m going to take it."
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cated 22 miles north of Manchester, D. Named for the river Burn, it as an enterprising manufacturing town. In 2004, hoping 50. F. NO CHANGE to bolster the town’s economy, the Burnley council and H. itself J. DELETE the underlined portion. Mid Pennine Arts commissioned a piece of art that would draw tourists to the area. The architects they hired, Mike Tonkin and Anna Liu, found inspiration in the region’s persistent winds, which can reach speeds of sixty miles per hour. S 51. At this point, the writer is considering adding the following true information: On average, the month of January has proven to be the windiest month in Burnley. Should the writer make this addition here? A. Yes, because it provides a brief overview of how the weather in Burnley changes from season to season. B. Yes, because it strengthens the writer’s claim that Burnley is particularly windy. C. No, because it deviates from the discussion of how Tonkin and Liu conceived of the sculpture. D. No, because it fails to describe the wind conditions elsewhere in the region. Wanting to assemble the winds into the sculpture, 52. F. NO CHANGE G. incorporate Tonkin and Liu modeled the tree after the panpipe. H. absorb J. lump This wind instrument is comprised of a series of open, 53. A. NO CHANGE B. that is 53 hollow tubes that are arranged into a row and bound C. being D. DELETE the underlined portion. together. The tubes, which vary in length, produce musical notes when the musician blows across the tops of them. Coincidentally, Tonkin and Liu reasoned that 54. F. NO CHANGE G. Despite this, 54 winds blowing across a sculpture made of pipes could H. Fortunately, J. DELETE the underlined portion. produce the same musical affect. 55. A. NO CHANGE B. produce the same musical effect. 55 To form the tree’s bent trunk, the architects C. of produced the same musical affect. D. of produced the same musical effect. and their team stacked layers of shorter pipes onto a spiral axis, layers of longer pipes form the top 56. F. NO CHANGE G. axis, the layering of the tree. Of the 320 pieces of pipe used to H. axis; layers J. axis and layers creating the sculpture, only 25 actually generate 57. A. NO CHANGE B. creating the sculpture, only 25 actually generating tones. To better catch the wind, each of these C. create the sculpture, only 25 actually generating D. create the sculpture, only 25 actually generate “singing” pipes is positioned near the top of the tree. The Singing Ringing Tree creates a mix every 58. Which choice most precisely indicates what the Singing Ringing Tree creates every day? 58 day as the wind blows through Burnley. Consistent F. NO CHANGE G. something new and fresh H. a unique song J. something with the architects’ vision the sculpture’s eerie, 59. A. NO CHANGE B. vision, the sculpture’s eerie, 59 melancholy notes resonate with tourists and C. vision, the sculpture’s eerie D. vision the sculpture’s eerie citizens alike. Question 60 asks about the preceding passage as a whole. 60. Suppose the writer’s primary purpose had been to describe the creation of a commissioned piece of public art. Would this essay accomplish that purpose? F. Yes, because it explains that the Singing Ringing Tree was inspired by the panpipe. G. Yes, because it explains why and how the Singing Ringing Tree was built. H. No, because it instead highlights architects Tonkin and Liu and their individual accomplishments. J. No, because it instead focuses on Burnley’s improving economy.
=== A Piece of Mexico in Brooklyn ===
[1] Inside Librería Donceles, a bookstore conceived by New York–based artist Pablo Helguera, masses of books beckon. Carefully arranged piles rest on small reading tables, on shelves, on the floor. Pieces of furniture—a desk here, a lamp there—punctuates 61. A. NO CHANGE B. has punctuated 61 C. is punctuating D. punctuate the small Brooklyn warehouse. It, is at once, cozy 62. F. NO CHANGE G. It is at once cozy 62 and intimidating, both chaotic and artful. I walk H. It is, at once cozy, J. It is at once cozy, through slowly, pause to admiring the sculptural 63. A. NO CHANGE B. slowly and pausing to admire 63 stacks of books, the thoughtfully curated sections C. slowly and pause to admiring D. slowly, pausing to admire with titles such as “Poesía” (Poetry) and the less 64. F. NO CHANGE 64 G. titles, such as “Poesía” (Poetry), conventional “Teoría Dudosa” (Doubtful Theory). H. titles such as, “Poesía” (Poetry), J. titles such as, “Poesía” (Poetry) Named for Calle Donceles, an avenue in Mexico City 65. Given that all the choices are accurate, which one pro- provides the most relevant information at this point in the 65 essay? 65 A. NO CHANGE B. an east–west avenue in Mexico City that is home to several camera supply stores, C. a street in Mexico City lined with bookstores, D. a busy street in Mexico City, [2] Approximately two million Spanish speakers live in New York City. Yet Helguera, whom immigrated from 66. F. NO CHANGE G. who emigrated from 66 Mexico City, couldn’t find a secondhand Spanish-language H. who immigrated of J. whom emigrated of bookstore at all anywhere in all of New York City. 67. A. NO CHANGE B. at all despite there being so many Spanish speak- 67 Helguera wanted to open up a dialogue regarding cultural ers in New York City. C. for Spanish speakers. D. anywhere. history and the connections that people have (or don’t have) to their roots. [A] He began trading his drawings for book donations, accumulating a substantial number of used books (around 20,000) for the project. 68. F. NO CHANGE G. (in the range of 20,000 as an estimated total) 68 H. (around 20,000 total or thereabouts) w[3] ww.actexJa. (imn the ra.ngne of earountd 20,000) [B] To highlight and preserve the lineage and 69. A. NO CHANGE B. to preserving also the lineage and 69 history of the books, Helguera brands the inside covers C. to preserve the lineage and also D. preserving the lineage and also with yellow stickers. All of the stickers bears the name 70. F. NO CHANGE 70 G. Every one of the stickers bear of the previous owner. Visitors are encouraged to select H. Each of the stickers bear J. Each sticker bears one book to take home in exchange for a donation in the amount of their choosing. In this way, Helguera hopes, people will feel connected to the experience that Librería Donceles elicits even after they leave the bookstore. [C] 71. The best placement of the underlined portion would be: 71 A. where it is now. B. after the word that. C. after the word they. D. after the word leave. [4] I settle on a copy of Julio Cortázar’s La Noche Boca Arriba, this is a dog-eared, faded 72. F. NO CHANGE G. Arriba this is 72 book donated by Juana Vargas. [D] I overhear a man H. Arriba, J. Arriba saying that Librería Donceles reminds him exactly of the bookstores he used to go to in Mexico. “Es buena,” he says. “It’s unlike anything I’ve ever seen.” 73. Which choice most effectively concludes the essay by demonstrating that Librería Donceles is successful in 73 connecting visitors to their roots? A. NO CHANGE B. “It reminds me how much I love books.” C. “It’s charming and unexpected.” D. “It feels like home.” Questions 74 and 75 ask about the preceding passage as a whole. 74. The writer wants to add the following sentence to the 75. Suppose the writer’s primary purpose had been to essay: describe how the direction of Helguera’s projects has changed over the years. Would this essay accomplish A quiet buzz of excitement fills the space as that purpose? people converse in both Spanish and English. This sentence would most logically be placed at: F. Point A in Paragraph 2. B. Yes, because it demonstrates the overall signifi- G. Point B in Paragraph 3. cance of .Henlgueera’s Ltibrería Donceles project. H. Point C in Paragraph 3. B. Yes, because it describes projects that Helguera completed in both Mexico City and New York J. Point D in Paragraph 4. City. C. No, because it instead focuses on one project Helguera created during his career. D. No, because it instead explores Helguera’s cultural background.