SAT Pastpaper with Solutions

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Prehistoric PrintingPaleontologists are using modern technology to gaina greater understanding of the distant past. With the aidof computed tomography (CT) scanning and 3-Dprinting, researchers are able to create accurate models ofprehistoric fossils. (1) These models have expanded researchers’ knowledge of ancient species and (2) swearto advance the field of paleontology in the years to come.CT scanners use X-rays to map the surface of a fossilin minute detail, recording as many as one million datapoints to create a digital blueprint. A 3-D printer thenbuilds a polymer model based on this blueprint, much asa regular computer printer reproduces digital documentson paper. (3) Whereas the head of an ordinary computerprinter moves back and forth while printing ink ontopaper, the corresponding part of a 3-D printer moves inmultiple dimensions while squirting out thin layers ofmelted polymer plastic. The plastic hardens quickly,(4 )it allows the printer to build the layers of the finalmodel. Compared with older ways of modeling fossils,scanning and printing in this way is extremely versatile. [1] One significant benefit of 3-D printingtechnology is its ability to create scale reproductions offossils. [2] But now 3-D scale models can be rearrangedwith ease, which is a huge boon to scientists. [3] A teamled by Drexel University professor Kenneth Lacovara ismaking models of dinosaur bones one-tenth the bones’original sizes (5) in order to learn how they fit togetherwhen the animals were alive. [4] In the past, suchresearch was limited by the weight and bulk of the fossilsas well as(6)its preciousness and fragility. [5] In manycases, scientists had to rearrange bones virtually, usingartists’ renderings. (7)Because CT scanners can map objects that areimpossible to excavate, CT scanning and 3-D printingcan also be used to reproduce fossils that scientistscannot observe firsthand. (8) By contrast, researchers from the National Museum of Brazil (9) has relied onthis technique to study a fossilized skeleton that wasdiscovered protruding from a rock at an old São Paulorailroad site. (10） The fossil was too delicate to beremoved from the rock. Because of the fossil’s delicatenature, the team dug up a block of stone around the fossiland brought it to their lab. With the aid of a CT scannerand a 3-D printer, they were able to produce a resinmodel of the fossil. Examining the model, the researchersdetermined that （11） one had found a new species, a75-million-year-old crocodile. While not every discoverywill be as dramatic as this one, paleontologists anticipatefurther expanding their knowledge of ancient life-formsas CT scanning and 3-D printing continue to make fossilsmore accessible.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Thomas Nast, the Crusading Cartoonist“Stop them pictures!” Legend has it that the corruptpolitician William “Boss” Tweed once used those wordswhen ordering someone to offer a bribe to Thomas Nast,an artist who had become famous for cartoons that calledfor reforms to end corruption. （12） As a result, Tweed’sattempt to silence the artist failed, and Nast’s cartoons,published in magazines like Harper’s Weekly, actuallyplayed a key role in bringing Boss Tweed and his croniesto justice.（13） There were powerful political organizations inthe 1860s and the 1870s. The organizations were knownas “political machines” and started taking control of citygovernments. These political machines were able to packlegislatures and courts with hand-picked supporters bypurchasing （14） votes, a form of election fraud involvingthe exchange of money or favors for votes. Once apolitical machine had control of enough importantpositions, its members were able to use public funds toenrich themselves and their friends. Boss Tweed’sTammany Hall group, which controlled New York（15） City in the 1860s—stole more than 365 million today.（16） Tweed had been elected to a single two-year term inCongress in 1852. Tammany Hall was so powerful and（17） corrupt that, the New York Times, commented“There is absolutely nothing . . . in the city which isbeyond the reach of the insatiable gang.”Given the extent of Tweed’s power, it is remarkablethat a single cartoonist could have played such asignificant role in bringing about his downfall. Nast’scartoons depicted Tweed as a great big bloated thief. Oneof the artist’s most （18） famous images showed Tweedwith a bag of money in place of his （19） head. Anotherfeatured Tweed leaning against a ballot box with thecaption “As long as I count the votes, what are you goingto do about it?” These cartoons were so effective in partbecause many of the citizens who supported Tweed wereilliterate and thus could not read the newspaper accountsof his criminal activities. Nast’s cartoons, though, widelyexposed the public to the injustice of Tweed’s politicalmachine.Nast’s campaign to bring down Tweed and theTammany Hall gang was ultimately successful. In theelections of 1871, the public voted against most of theTammany Hall candidates, greatly weakening Tweed’spower. Eventually, Tweed and his gang were（20） persecuted for a number of charges, including fraudand larceny, and many of them were sent to jail. In 1875Tweed escaped from jail and fled to Spain andunwittingly （21） brought about one final （22） pinnacle forthe power of political cartoons: A Spanish police officerrecognized Tweed from one of Nast’s cartoons.Consequently, Tweed was sent back to jail, and Nast washailed as the man who toppled the great Tammany Hallmachine.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Rethinking Crowdfunding in the ArtsCrowdfunding is a popular way to raise money usingthe Internet. The process sounds simple: an artist,entrepreneur, or other innovator takes his or her ideasstraight to the public via a crowdfunding website. Theinnovator creates a video about the project and offers, inexchange for donations, a series of “perks,” fromacknowledgment on a social media site to a small piece ofart. Many crowdfunding programs are all-or-nothing; inother words, the innovator must garner 100 percentfunding for the project or the money is refunded to thedonors. At （23） it’s best, the system can give creatorsdirect access to millions of potential backers.The home page of one leading crowdfunding sitefeatures a project to manufacture pinhole cameras on a3‑D printer. （24） The idea is obviously very attractive. Anobscure method of photography may be made availableto many with little expense. Within weeks, the projectwas 621 percent funded. In contrast, on the same page, asmall Brooklyn performance venue is attempting to raisemoney for its current season. The venue features works ofperformance art showcased in a storefront window.Those who have seen the space consider it vital.（25） However, that group may not be large enough; withjust fourteen days to go in the fund-raising period, thecampaign is only 46 percent funded.Artists such as these Brooklyn performers find thatcrowdfunding exacerbates problems that already exist.（26） Work, that is easily understood and appreciated, issupported, while more complex work goes unnoticed.（27） Time that could be used creating art is spent devisingclever perks to draw the attention of potentialcontributors. （28） In addition, audiences may containmany “free （29） riders,” they did not make contributions.Ironically, the success of crowdfunding may weakenoverall funding for the arts if people begin to feel thatpaying for the art （30 ）loved by them is someone else’sresponsibility.[1] One innovative playwright has woven thedeficiencies of the system into her crowdfunding model.[2] Though the price for her tickets was higher than thatof tickets for comparable shows, it was still affordable tomost theatergoers—and reflected the real cost of theperformance. [3] She presented the total cost forproducing her play on a crowdfunding site. [4] Then shedivided the total cost by the number of people sheexpected to attend the performance. [5] The result of thecalculation was the minimum donor price, and onlydonors who paid at least the minimum ticket price wereallowed to attend the performance. [6] By subverting thepresumption that money used for her project is analtruistic donation, the playwright showed that （31） ourwork has monetary value to those who enjoy it. （32）

Question （33) asks about the graphic.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.

Investigative Journalism: An Evolving AmericanTradition[1] The recent precipitous decline of print journalismas a viable profession has exacerbated long-held concernsabout the state of investigative reporting in the UnitedStates. [2] Facing lower print circulation and diminishedadvertising revenue, many major newspapers havereduced or eliminated investigative resources.[3] Newspapers, the traditional nurturing ground forinvestigative journalism, have been hit especially hard bythe widespread availability of free news online. [4] Tosurvive, investigative journalism must continue to adaptto the digital age. (34)It is not difficult to understand whya cash-strapped, understaffed publication might feelpressure to cut teams of investigative(35) reporter’s—their work is expensive andtime-consuming. (36） Taking on the public interest,investigative journalism involves original, oftenlong-form reporting on such topics as （37） illegalactivities, street crime, corporate wrongdoing, andpolitical corruption. An investigative story involves oneor more experienced journalists dedicating their fullenergy and the resources of the publisher to a piece for aprolonged period of time. Expensive legal battles mayensue. The results of this work, though costly, have helped keep those in power accountable. The exposure byWashington Post reporters Bob Woodward and CarlBernstein of government misconduct in the Watergatescandal resulted in the resignation of President RichardNixon in 1974. More recently, Seymour Hersh, reportingfor the New Yorker in 2004, helped publicize themistreatment of Iraqi prisoners by US personnel atAbu Ghraib during the Iraq War. （38） In these and othercases, exposure from reporters has served as animportant （39） blockade to or scolding of malfeasance.While worrisome, the decline of traditional printmedia （40） could not entail the end of investigativejournalism. （41） Although many newsrooms havereduced their staff, some still employ investigativereporters. Nonprofit （42 ）enterprises such as theOrganized Crime and Corruption Reporting Project havebegun to fill the void created by staff losses at newspapersand magazines. Enterprising freelance reporters, newlyfunded by nonprofits, make extensive use of social media,including blogs and Twitter, to foster a publicconversation about key issues. The Help Me Investigateproject, （43） for example, solicited readers to submit tipsand information related to ongoing stories to its website.Far from marking the end of investigative journalism,（44） cooperation among journalists and ordinary citizenshas been facilitated by the advent of the digital agethrough an increase in the number of potentialinvestigators.