Leon Bridges Quiz

[4] A century ago, his effortlessness and out-of-nowhere ascent would've led people to suspect a crossroads pact with the devil a la blues legend Robert Johnson. But to sing soul like he does takes hard work and hard times. Painfully shy as a kid (and still noticeably reticent when he's not onstage), Bridges has a beatific gospel timbre that suggests church-choir experience—but he was too insecure to actually audition. "I didn't think I could sing," says Bridges. "I knew I could do stuff here and there, but didn't think I was good enough to fit."

Q. What is most closely the meaning of the word timbre as it is used in the following passage (paragraph 4)?

• rattle

• melody

• religion

• tone

[6] Bridges idly dreamed of escape, drowning himself in the same music other kids his age were listening to. He didn't even know of the soul greats he'd later be compared to. "Nostalgia for me isn't Sam Cooke," he says, "as much as it's listening to a Ginuwine song or hearing Dallas hip-hop and remembering dancing to it in my garage."

Q. Part A: Which of the following selections is best supported by the paragraph 6?

• As a child, Bridges wished he could leave Texas.

• Bridges earliest musical interests were much different than the music he makes now.

• Bridges only listened to hip-hop as a kid.

• Bridges didn’t like any of the music that his peers listened to, preferring to listen to the music of his parents’ generation instead.

[6] Bridges idly dreamed of escape, drowning himself in the same music other kids his age were listening to. He didn't even know of the soul greats he'd later be compared to. "Nostalgia for me isn't Sam Cooke," he says, "as much as it's listening to a Ginuwine song or hearing Dallas hip-hop and remembering dancing to it in my garage."

Part B: Which passage from the text most strongly supports " earlier musical interest" in Paragraph 6?

• “‘Nostalgia for me isn't Sam Cooke,’ he says, ‘as much as it's listening to a Ginuwine song or hearing Dallas hip-hop…”

• “Bridges idly dreamed of escape…”

• “He didn't even know of the soul greats he'd later be compared to.”

• “[Bridges drowned] himself in the same music other kids his age were listening to.”

[7] At a nearby community college, Bridges studied dance, inspired by seeing his dad moonwalk as a kid, he says. He picked up singing and guitar as a hobby at first, and eventually began playing at open mics and small shows. His sound evolved from neo-soul, to folky R&B to traditional soul with horn—ideal for the last slow dance of the night. "A friend asked if Sam Cooke was an inspiration. I'd never listened, but I wanted to know my roots, so I looked him up on YouTube and Pandora," says Bridges. "Once I heard it, I saw it— that was the music that I wanted to write."

Q. The following passage (paragraph 7) adds to the development of the text mainly by showing ______________.

• that Bridges enjoyed slow-dancing

• why Bridges preferred playing guitar

• the origins of Bridges’ love of soul music

• how difficult it is to be discovered at open mics and small shows

[9] "He's singing to you, not at you," says Jenkins, who co-produced Coming Home with fellow White Denim partner Joshua Block, recording live on all-analog gear, including a soundboard once owned by The Grateful Dead. "He listened to Texas blues, gospel and R&B, and filtered it through himself. It's authentic and direct."

Q. Part A: Which statement about Austin Jenkins is best supported by paragraph 9?

• Jenkins is extremely jealous of Bridges.

• Jenkins is also a soul musician.

• Jenkins helped Bridges launch his career.

• Jenkins used to tour with The Grateful Dead.

[9] "He's singing to you, not at you," says Jenkins, who co-produced Coming Home with fellow White Denim partner Joshua Block, recording live on all-analog gear, including a soundboard once owned by The Grateful Dead. "He listened to Texas blues, gospel and R&B, and filtered it through himself. It's authentic and direct."

Q. Part B: Which passage from the text most strongly supports " Jenkins launching Bridges' career" in Paragraph 9?

• “... Jenkins, who co-produced Coming Home with fellow White Denim partner Joshua Block… ”

• “‘He listened to Texas blues, gospel and R&B, and filtered it through himself. It's authentic and direct.’”

• “... recording live on all-analog gear, including a soundboard once owned by The Grateful Dead.”

• “‘He's singing to you, not at you,’ says Jenkins…”

[11] "I don't like to write flashy soul songs," says Bridges. "I'm writing from the heart, stories about family and truth. I just want people to see a genuine person."

Q. The final paragraph adds to the development of the text mainly by showing _______________.

• that Bridges has always wanted to be famous

• that Bridges’ main priority with his songs is whether they’ll become a big hit with his audiences

• that Bridges thinks pop stars are sell-outs

• that Bridges is most concerned with the authenticity and emotions evoked by his songs

What was the author's purpose in writing "Leon Bridges: Overcoming Childhood...?"

• Entertain

• Inform

• Persuade

[8] But after a couple of years playing locally, Bridges struggled to attract more than 20 people to shows. He bussed tables and lived at home. After his mother lost her medical-field job, he got a second one washing dishes. Then he met Austin Jenkins, guitarist from Austin psych-rock band White Denim, at a Fort Worth bar. He noticed Bridges' singular '50s fashion style—crisp slacks, starched collars, high-waist jeans, exquisite vintage suits. ("It all started when one of my mom's older friends gave me his childhood clothes when I was a teenager," says Bridges of his look. "It's funny when people think it's just a marketing scheme.") They took a photo, had a beer and figured they would probably never meet again—until Jenkins randomly stumbled upon Bridges two weeks later at a local dive, where he was playing to a crowd of five. The first song he played? "Coming Home."

[9] "He's singing to you, not at you," says Jenkins, who co-produced Coming Home with fellow White Denim partner Joshua Block, recording live on all-analog gear, including a soundboard once owned by The Grateful Dead. "He listened to Texas blues, gospel and R&B, and filtered it through himself. It's authentic and direct."

Q. Part A: What central idea does the author express in paragraphs 8-9?

• Leon Bridges owes his success to his most famous song “Coming Home.”

• Leon Bridges relied on the help from established singers to gain attention from the music industry.

• Leon Bridges’ claim to fame was due to his work ethic and genuine qualities that surfaced in his music.

• Leon Bridges acquired his unique style and music ability from his mom’s older friends who helped him as a teenager.

[8] But after a couple of years playing locally, Bridges struggled to attract more than 20 people to shows. He bussed tables and lived at home. After his mother lost her medical-field job, he got a second one washing dishes. Then he met Austin Jenkins, guitarist from Austin psych-rock band White Denim, at a Fort Worth bar. He noticed Bridges' singular '50s fashion style—crisp slacks, starched collars, high-waist jeans, exquisite vintage suits. ("It all started when one of my mom's older friends gave me his childhood clothes when I was a teenager," says Bridges of his look. "It's funny when people think it's just a marketing scheme.") They took a photo, had a beer and figured they would probably never meet again—until Jenkins randomly stumbled upon Bridges two weeks later at a local dive, where he was playing to a crowd of five. The first song he played? "Coming Home."

[9] "He's singing to you, not at you," says Jenkins, who co-produced Coming Home with fellow White Denim partner Joshua Block, recording live on all-analog gear, including a soundboard once owned by The Grateful Dead. "He listened to Texas blues, gospel and R&B, and filtered it through himself. It's authentic and direct."

Q. Part B: Which statement best evaluates the author’s use of logos to develop the central idea identified in Paragraphs 8-9?

• It fails to develop the central idea because the author does not include facts and reliable evidence.

• It strongly emphasizes the author’s central idea by detailing the process required to create his 1950’s appearance.

• It significantly develops the central idea by emphasizing Bridges’ character through his actions and testimony from those who know him.

• It attempts to highlight the author’s central idea by providing an interview from a famous musician that shows Bridges’ ability to accept help when needed.