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  3. The re-release of the Rolling Stones’ 1972 album " Exile on Main Street" in May was accompanied by a merchandising blitz that il

The re-release of the Rolling Stones’ 1972 album " Exile on Main Street" in May was accompanied by a merchandising blitz that il

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问题     The re-release of the Rolling Stones’ 1972 album " Exile on Main Street" in May was accompanied by a merchandising blitz that illustrates how far the business has evolved beyond selling black T-shirts. Bravado released more than 100 items, from baseball caps to boxes containing signed lithographs. There were not only album-cover T-shirts but also a higher-priced " as worn by" collection, featuring reproductions of clothes that members of the band happened to be wearing in the early 1970s. 【C1】______.
    The Stones are wily old businessmen: they were among the first to realise that fans would pay more for concert tickets. But even up-and-coming acts now try to build livelihoods around merchandising and live performance. 【C2】______. He is not so much selling music as using music to sell. "If you buy into me musically, you will also buy into the clothing and the lifestyle," he explains.
    Music’s cachet and emotional pull also make it a potent weapon for businesses that want to build their own brands. 【C3】______. Sponsorship can lead to musicians wearing a company’s clothes and naming songs after it: Rascall Flatts, a country music band, has done both for American Living, a label carried by JCPenney. IEG, a firm that tracks the market, estimates that the value of tour sponsorships in North America will reach $ 1. 74 billion this year, up from $ 1. 38 billion in 2006.
    Music’s best business customer is television. " Watch an evening’s worth of TV and count how many times you hear music in the background," says Jeremy Lascelles, chief executive of Chrysalis. Your correspondent tried, and found that a new tune appeared, on average, every 40 seconds. 【C4】______. And music is not always in the background of TV programmes. Some of the most popular shows of the past few years—"American Idol" , "Glee" and "The X-Factor"—have been music shows.
    【C5】______. Publishing supplied 29% of EMI’s revenues and 45% of its profits in the year to March 2010. The outfit’s new boss, Roger Faxon, comes from that side of the business—a reflection of how the economics of music have shifted.
    On television, music is either supported by advertising or bundled invisibly into the cost of pay-TV subscriptions. That model is spreading from the box to the web. Free music-streaming services like We7 and Spotify have proliferated in Europe: the latter claims 10m users. America has Vevo, a music-video website linked to YouTube and owned in part by Universal Music Group and Sony Music Entertainment.
     [A]" We have grown along with the touring business," says Tom Bennett, the head of Bravado, whose revenues have more than doubled since 2007, when it was acquired by Universal Music Group— although that is partly because it has signed up new acts.
     [B]Because it derives revenues from business as well as consumers, publishing is much more stable than recording. Record companies’ publishing departments, which once seemed rather dowdy next to sexy, talent-spotting A&R, have become vital cash machines.     [C]Fans complain bitterly about the rising price of live music. Yet they keep paying for concerts. One reason is that the live-music experience has vastly improved. Lots of shiny new venues have been built since the mid - 1990s, many subsidised by governments in the hope that they would revitalise decayed downtowns.
     [D]The Rolling Stones(again)led the way in recruiting tour sponsors, from Sprint, a phone company, to Ameriquest, which sold mortgages.
     [E]Many necessitated payments to songwriters and the music publishers, like Chrysalis, that represent them. Publishers have become increasingly adept at hawking their wares to programme-makers.
     [F]Scorcher, a rapper from London who recently signed his first record deal, set up a clothing label even before he made his first video. He invariably wears his own products in the music videos that he gives away on websites like YouTube.
     [G]The huge range of items at different prices meant products found their way into budget stores like Target as well as dearer ones like Bloomingdale’s.
【C3】
选项
答案D
解析 第三段贯穿始终的关键词是sponsor“赞助”。第一句话从音乐的自身特点出发，分析了音乐的商业宣传价值，这是赞助成为可能的基础。空格之后的句子则用具体案例说明赞助的具体意义和结果。最后一句给出数据，说明这个产业近几年的迅猛发展。由此，我们可以推断，需补充的内容应该也与赞助有关。在剩余的五项中，只有[D]项的内容与此相关，介绍这种商业模式最初创始的公司之一就包括滚石，这也能与前两段一直涉及的滚石的商业活动遥相呼应。故选项[D]为答案。
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