阅读与练习:英国难再造流行巨星之揭秘--高考英语阅读备考.docx
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1、Why has the UK stopped producing pop superstars英国难再造流行巨星之揭秘1.hype(Para. 3) v. 夸张地宣传(某事物)The meeting was hyped up in the media as an important event.媒体大肆宣传这次会议是一项重要的活动。2.subscription(Para. 6) n. 訂阅;捐款The classic newspaper business is both a subscription service and advertising supported.传统的新闻报刊业同时提供了
2、订阅服务和广告服务。3.self-contained(Para. 10) adj. 独立的;自足的;设备齐全的He seems completely self-contained and he doesnt miss you when youre not there.他似乎完全独立了,你不在的时候他也不想念你。4.high-profile(Para. 11) adj. 高调的;备受瞩目的;知名度高的He is a high-profile criminal defense lawyer.他是一位备受关注的刑事辩护律师。Three years ago British artists made u
3、p half the global top 10. Now the biggest new stars barely make a mark overseas. What is behind this sea changeand is there a way back?Has the UK music business lost its powerful magic for creating pop superstars? The UK music industry will celebrate the first National Album Day on Saturday, but top
4、-selling new albums by British pop artists are dissatisfactory in 2018.Its not that there is a scarcity of new music in the UK because the albums by Paul McCartney, Years & Years, Florence + the Machine, James Bay and hyped new artists Anne-Marie and Jorje Smith have all made it into the top five. B
5、ut none of them have sold well enough to make the Official Charts Companys Top 10 releases of the year so far. Only two UK albums released in 2018 made the list: Staying at Tamaras by George Ezra and Tranquility Base Hotel & Casino by Arctic Monkeys.Ed Sheer an is the most popular UK artist in Billb
6、oards Artist 100 chart. He came in at No. 13. The next Briton is breakout R&B star Ella Mai at No. 21, followed by Dua Lipa at No. 56. However, there are no British albums in the Top 20 of the American album chart.Industry experts suggest some reasons for the decline of the economy, from the dominan
7、ce of streaming services to the end of traditional marketing strategies.Since 2013, streaming services have overtaken CDs and downloads as the most popular way of consuming music, with subscription services rising from a 9.9% share of UK recorded music revenues to 48% in 2017.Streaming services are
8、song-focused rather than artist-focused, which makes it harder for artists working in album formats to break through, says Hannah Neaves, who leads marketing and artist development at Tap, a famous management company.Before streamings dominance, artists could quickly get success such as the singer A
9、dele and Sheer an. But now,“You have to be prepared to spend three years getting to a position that previously would have taken you nine months,” says Naves. “All the biggest playlists are American and its very difficult to get British acts on them, which can make a great difference to your competit
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