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Even though he was a great shooter, DeMarr totally choked in the finals, missing two key free throws.
Bungled
Elevated
Desolate
Gasped
Explanation
The primary meaning of “choke” is gag or strangle someone, but since none of the answer choices are close in meaning to this definition, you can assume you are searching for a secondary meaning of the word. If you “choke,” then you lose your composure and fail to perform effectively in a critical situation, like, for instance, taking key free throws in the finals, so you could say, "He had a chance to win the game but he choked."Thus, "choke" used in this way is most similar in meaning to "bungle,"which means mess something up.As for the other answer choices,"elevate" means rise up or place at a higher position;and"desolate" means empty, barren, or devoid of life.
The cottage was small, but well-decorated and located in a charming and quaint village.
Quaint
Putrid
Negligent
Query
Explanation
"Quaint" means old-fashioned and charming. "Putrid" means decayed or rotten. "Negligent" means not cautious or careless. "Query" refers to a question or the act of asking a question.
Andrew gingerly dismounted the fence, he really didn't want to hurt himself.
Cautiously
Reddening
Hastily
Gingery
Explanation
If you do something “gingerly,” you do it cautiously or carefully. This makes sense in this context, and Andrew is trying not to hurt himself, and adjusting the manner in which he dismounts the fence accordingly. Do not confuse it with, "gingery," which means related to the spice ginger. To clarify the other terms, “reddening” means turning red, such as when blushing; a “fastening” is something you use to affix things together; “hastily” means hurriedly or quickly.
The cottage was small, but well-decorated and located in a charming and quaint village.
Quaint
Putrid
Negligent
Query
Explanation
"Quaint" means old-fashioned and charming. "Putrid" means decayed or rotten. "Negligent" means not cautious or careless. "Query" refers to a question or the act of asking a question.
Andrew gingerly dismounted the fence, he really didn't want to hurt himself.
Cautiously
Reddening
Hastily
Gingery
Explanation
If you do something “gingerly,” you do it cautiously or carefully. This makes sense in this context, and Andrew is trying not to hurt himself, and adjusting the manner in which he dismounts the fence accordingly. Do not confuse it with, "gingery," which means related to the spice ginger. To clarify the other terms, “reddening” means turning red, such as when blushing; a “fastening” is something you use to affix things together; “hastily” means hurriedly or quickly.
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
It can be inferred from the passage that the author values .
the ranching culture of the American West
the financial viability of large-scale agriculture in the United States
the preservation of the world ecosystem
None of these
Explanation
By describing the cowboy as a homesprung hero, the author presents the cowboy as a cultural figure instead of a socio-political one. He says that the legends are continued through stories and songs, both cultural art forms. It is therefore reasonable to say that he most values the ranching culture of the American West, as opposed to, say, the economic value of ranching or the ecosystem of the prairies.
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
Why does the author open the passage with a list of disappearing species of the plains?
To compare the cowboy to other disappearing figures of the American West
To give the reader important quantitative data about the ecology of the American West
To describe the sparse economic resources that cowboys had available to them
To highlight the bravery of the cowboys
Explanation
The author starts the paragraph by describing how the whole of the western landscape, including the animals that live there, is changing. He then shifts into a discussion of cowboys with this transition: “The last figure to vanish is the cowboy, the animating spirit of the vanishing era.” In this way, the author puts the cowboy into context by comparing him to other classic—and disappearing—figures of the American West.
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
It can be inferred from the passage that the author values .
the ranching culture of the American West
the financial viability of large-scale agriculture in the United States
the preservation of the world ecosystem
None of these
Explanation
By describing the cowboy as a homesprung hero, the author presents the cowboy as a cultural figure instead of a socio-political one. He says that the legends are continued through stories and songs, both cultural art forms. It is therefore reasonable to say that he most values the ranching culture of the American West, as opposed to, say, the economic value of ranching or the ecosystem of the prairies.
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
It can be inferred from the passage that the author values .
the ranching culture of the American West
the financial viability of large-scale agriculture in the United States
the preservation of the world ecosystem
None of these
Explanation
By describing the cowboy as a homesprung hero, the author presents the cowboy as a cultural figure instead of a socio-political one. He says that the legends are continued through stories and songs, both cultural art forms. It is therefore reasonable to say that he most values the ranching culture of the American West, as opposed to, say, the economic value of ranching or the ecosystem of the prairies.
Adapted from Cowboy Songs and Other Frontier Ballads by John A. Lomax (1910)
The big ranches of the West are now being cut up into small farms. The nester has come, and come to stay. Gone is the buffalo, the Indian warwhoop, the free grass of the open plain—even the stinging lizard, the horned frog, the centipede, the prairie dog, the rattlesnake, are fast disappearing. Save in some of the secluded valleys of southern New Mexico, the old-time round-up is no more; the trails to Kansas and to Montana have become grass-grown or lost in fields of waving grain; the maverick steer, the regal longhorn, has been supplanted by his unpoetic but more beefy and profitable Polled Angus, Durham, and Hereford cousins from across the seas. The changing and romantic West of the early days lives mainly in story and in song. The last figure to vanish is the cowboy, the animating spirit of the vanishing era. He sits his horse easily as he rides through a wide valley, enclosed by mountains, clad in the hazy purple of coming night,—with his face turned steadily down the long, long road, "the road that the sun goes down." Dauntless, reckless, without the unearthly purity of Sir Galahad though as gentle to a woman as King Arthur, he is truly a knight of the twentieth century. A vagrant puff of wind shakes a corner of the crimson handkerchief knotted loosely at his throat; the thud of his pony's feet mingling with the jingle of his spurs is borne back; and as the careless, gracious, lovable figure disappears over the divide, the breeze brings to the ears, faint and far yet cheery still, the refrain of a cowboy song.
Why does the author open the passage with a list of disappearing species of the plains?
To compare the cowboy to other disappearing figures of the American West
To give the reader important quantitative data about the ecology of the American West
To describe the sparse economic resources that cowboys had available to them
To highlight the bravery of the cowboys
Explanation
The author starts the paragraph by describing how the whole of the western landscape, including the animals that live there, is changing. He then shifts into a discussion of cowboys with this transition: “The last figure to vanish is the cowboy, the animating spirit of the vanishing era.” In this way, the author puts the cowboy into context by comparing him to other classic—and disappearing—figures of the American West.