Question 1 
Well, basically, what happened was they were looking for, like, a blonde girl to appear in this 'before and after' magazine feature. You know, they let a hair stylist and a make-up person loose on you and put you in designer clothes, then they publish photos to show how much better you look afterwards. Anyway, they weren't actually looking for twins, but like, our mum sent in a photo of both of us together and I guess they just thought, like, 'Hey yeah... that's not a bad idea, we can make them look different to each other.' Because until then, only our mum had been able to tell us apart.
Question 2 
Well, I wanted to be a dancer. And my parents supported me in my ambition, too. So at the age of fifteen, I went to ballet school. But it didn't work out, unfortunately. Schools like that want to take you apart and put you back together again. It's part of the discipline, but your character is suppressed. Anyway, I didn't stay there long -- I got kicked out at the end of my first year -- but now I can see that it set me on a path to what I do now, working as a TV presenter. 
Question 3 
I started as a general helper at the kart-racing centre. Now I've worked my way up to race director, which I never expected. I've always interested in cars and I know a little bit about car maintenance, so this was exactly what I had in mind when I set out to find a part-time job. It's not exactly hard work and I get to have a laugh with my mates. It's also good to get away from college work a few nights a week, and of course I earn around a hundred pounds a week. I could make more elsewhere, I know, but I wanted more from the experience than just pocket money. 
Question 4 
    Woman: That was fantastic! Shall we go again?    Man: Not me. I could live without doing that again. It was over so quickly.    Woman: You were determined not to enjoy it before we got on -- you moaned about the cost.     Man: No, really, it wasn't that. I just thought there'd be more to it.    Woman: Judging by the colour of your face, I reckon you were scared. You'd probably have been sick if we'd stayed on any longer.    Man: Oh, yeah? Have you seen the colour of your face? 
Question 5 
Attention, this is a platform alternation. All passengers waiting on platform five for the train to Hamiltion should now go to platform four where the train is due to arrive. We regret that this train is subject to a delay of up to twenty minutes. We are very sorry for the inconvenience this may cause to your journey. The train now standing at platform eight is the eight fifteen to Wellington. Please note this is a special excursion train and is not timetabled. 
Question 6
    Woman: What do you think about these then? I like the way they do up the back.     Man: Mmm, they suit you. Black though, not a very summery colour.     Woman: Oh I don't know -- black's good any time of the year.     Man: They look quite thick. Are they?    Woman: Not particularly -- they're linen, they feel rather cool.    Man: How much are they?     Woman: Let's see -- eighty pounds -- mm... quite a lot for a pair of trousers I don't really need.     Man: Jenny! Why are we wasting our time if you don't need them? Let's go and have lunch instead. 
Question 7 
Please look at the timetable you've just been given as there are one or two things I'd like to go over with you. This is the final one for the term and, as you can see, it doesn't include any extra lessons, which will be arranged with you individually as usual. So, no change there. However, please note that all the exam practice classes will be held in the new teaching block which was completed during the holidays. So you'll have to check the room numbers carefully. These changes do not affect tutor group meetings, which will be at five p.m. every day as they were last term. 
Question 8 
    Interviewer: Welcome back to your home town, Rod.    Rod: Great to be here. Quite a dynamic place for music these days, isn't it?     Interviewer: It used to be more so, I think. Now, you concert's on Sunday, in Queen's Square. Tickets fifty pounds -- mm... that's quite a lot.     Rod: Standard price here these days, I'm told, and anyway the kids can afford it. But it's ridiculous -- a town this size should have a proper arena for concerts like these.     Interviewer: Well, there's Colgate Hall.    Rod: Yeah, great for classical concerts where everyone's sitting quitely in their seats, but not for rock bands.    Interviewer: True, there's not much room to move around. 
Part 2 
    Interviewer: Good morning, and in the studio today we have Lucas Doran, who is in charge of what's called the Monkey House at Melchester Zoo, where not only monkeys but also the big apes, such as gorillas, are kept. Lucas, welcome. How did you get to work with gorillas?     Lucas: I've worked at the zoo for some time. I began with the snakes, which was brilliant, and then moved on to the rhinos, which wasn't quite so interesting. My ambition was always to work with big cats like lions and tigers, so when they transferred me to the Monkey House, I was disappointed at first. But later on I realised how lucky I was, because monkeys are so clever -- they're always trying to trick you!    Interviewer: That must keep you on your toes! Tell us about your day.     Lucas: I get to work about seven forty-five and the first job is to look at the animals. Nobody's on duty at night, so we have to make sure none of them is ill, or whether any babies have been born; you see, most monkeys give birth at night. Then we clean the cages and change the water. Then later on in the day, we return and put down fresh straw for their bedding.     Interviewer: What about feeding the animals?     Lucas: They are fed four times a day in summer and three in winter. The monkeys eat anything really -- fruit, vegetables, cooked meat, insects. But grapes are their favourite, though.     Interviewer: Have you ever been hurt by one of the animals?     Lucas: Once. A young female gorilla got out one day. I was just sweeing a path and I felt someone coming up behind me. I turned and there she was. I walked toward her talking calmly, and she just put a hand on my chest and pushed me out of the way. Quite gently for a gorilla, but enough to knock me off my feet. I fell over and broke my arm. Fortunately, just then her baby, which was still inside the cage, cried and she ran back inside to take care of it.     Interviewer: Gosh, that was lucky. Now, I'd like to move on to your relationship with the public.     Lucas: Well, I feel a big part of my job is helping people to understand about the animals. Lots of families come to the zoo at the weekend and I answer their questions. And I especially enjoy my talks with the students who come during the week. Then sometimes we have lectures visiting, who give interesting talks.     Interviewer: Right.     Lucas: But what I really can't stand is when people feed the monkeys. It's not so bad if they give them fruit, because at least apples and bananas from part of their natural diet, but we do say 'please don't feed the animals', and people should know that things like cake are not good for them.     Interviewer: Do you have any funny stories about your time here?    Lucas: Well, one time I had to look after two newborn baby monkeys. Their mother wasn't interested in them, so I had to feed them milk from a bottle every two hours. I had to take them back to my flat in a box on the bus because my car had broken down and I couldn't find a taxi driver willing to take them. They slept most of the way, but I got some very strange looks when these hairy little fingers occasionally crept out of the box!    Interviewer: And what of the future?     Lucas: Well, I've recently gone back to studying. Because I'm interesting in running my own zoo one day, I need to get some more qualifications. At first, I thought I needed to study Animal Psychology or Zoology, but actually the most useful course turned out to be one in Biology. I was always good at maths and sciences, so I'm really enjoying it.     Interviewer: Right.     Lucas: But what I'd really like to do is visit Africa. Not as a tourist on some safari, staying in the best hotels, but actually to meet the famous conservationist Briget Foley, and see the park where she does her research into apes and monkeys. It would be really exiciting to see some of the animals I know so well from the zoo in their natural surroundings.     Interviewer: Well, Lucas, best of luck with both those projects and thank you for joining us today.     Lucas: Thank you. 
Speaker 1 
Being a professional photographer probably seems like a glamorous job, especially if you work for a gossip magazine and have access to fabulously rich and beautiful people. Actually, I've done society photography, and it's difficult work -- fun, but limiting. I gave it up after a few years and now I work on the sports page of a national newspaper, whichi is OK. But what I really loving doing is pictures of everyday life in my own home -- meals, special events, the kids playing. I avoid the usual holiday snaps of us all lined up by a swimming pool in some resort. I leave that to other people.
Speaker 2
I'm a professional photographer and I earn my living by doing protraits of well-known people. I absolutely love my job because I have to discover the real person behind the image, and I find the challenge fascinating. My hobby is travelling, but I leave my camera behind when I'm on holiday, to have a rest from taking photographs. But I always carry a sketchbook around with me, to draw flowers and plants. Sometimes when I see a particularly interesting face or landscape, I wish I could reach for my camera, because my drawing skills aren't up to those sorts of subjects. 
Speaker 3 
I used to have a darkroom where I developed my own photos. I don't have time for that any more since I've got a young family, but I'm still interested in photography. I've bought a digital camera, which is wonderful -- small and light and easy to use, and I take it with me everywhere. There's always something going on in our city, and when I'm out and about I keep my eyes open for interesting events and take photos. I've started sending pictures in to the local paper, and they're sometimes printed on the front page. The only thing I'm not keen on is sport, to my children's disappointment. 
Speaker 4 
My dream was to be a photojournalist -- work for a famous newspaper or magazine and travel round the world following the big news stories of the day. I did train as a photographer at college, but photojournalism is a tough area to work in, competitive and often dangerous. In the end I got a job as a photographer on a wildlife magazine, and that is completely absorbing. I drive my family mad because because I have my camera with me all the time, taking pictures of anything that moves, and I sometimes feel I can only see properly through a lens. 
Speaker 5 
My first job after school was on our local paper, photographing news events, like a celebrity opening a new supermarket or graduation day at a school. It was useful training for me, and when I got a job later on a natioanl newspaper I developed an instinct for getting a good picture. I don't specialise in any particular department on the paper where I work now, but go where I'm sent. I particularly like it when I cover an athletics meeting and get a position near the finishing line, where I can catch the expressions, the extremes of emotion on people's faces as they come in. 
Part 4 
    Interviewer: I'm visiting the Capital Art School where I'm meeting two students, Annabelle Lester and Roberto Marini. Annabelle, what sort of course are you doing?     Annabelle: It's a three-year Fine Art course, which covers just about everything. It's really hard work because there's so much to do in such a short time. But I'm getting a lot out of it. We don't specialise: the idea is what we learn to work with all sorts of media, from the traditional art forms like sculpture and painting, to print-making and film production. The school aims to represent the art of today, in whatever form it takes.     Interviewer: Robert, I can see that practical work is the most important part of the course, but do you have lectures as well?     Roberto: Yes, and not only from our tutors. If you want to make a living as an artist, you've got to know about the financial side of things; so we get talks from accountants and agents, as well as art historians and people who run galleries. And sometimes professional artists come in to give lectures or do workshops with us.     Interviewer: There's a big choice of art schools in London. Why did you choose to come here, Annabelle?     Annabelle: Actually, the school chose me, and I was really lucky. Hundreds of people apply for a place here. One of the reasons is that the teaching is free, which means a lot when you have the expenses we do -- materials, equipment and so on. But that wasn't my reason. I wanted to come here because we can experiment and be origianal, do anything we like; and the teaching is good -- the tutors are positive and supportive about everything we do.     Interviewer: Roberto, what are you working on at the moment?     Roberto; The course I'm doing shows how the design of familiar things around us, like say a hairdryer, can be similar to something we think of as art, like a sculpture. I cut out illustrations from art magazines and store catalogues and stick them up all over my studio walls to give me ideas. The objective is to find inspiration for my art in the products you find in the shops.     Interviewer: So, how exactly do you make you art?     Roberto: Well, for the research stage, I photograph household objects with a digital camera, then change their appearance on my computer. When I'm satisfied there's enough material to work with, I make copies and finish them off by hand. They then have to go to the printers to be enlarged. We all have laptops, and our tutors email us feedback reports on what we've done for our records.    Interviewer: Are you pleased with the techical equipment that you have here, Annabelle?     Annabelle: Absolutely. We've got totally up-to-the-minute facilities here, because a local company has donated very sophisticated equipment to the school, and that allows us to experiment with things we couldn't afford to buy ourselves. They don't even mind if we damage it trying to do complex designs, because the idea is that art students should try out uses for the machines that no one has thought of before.     Interviewer: I suppose then that, when you finish your course, you can go in either direction -- industrial design or fine art?    Annabelle: Yes. It'll be difficult to choose because both worlds are interesting. But I've got a long way to go yet before I can say I'm a professional artist. Standards of industrial design are tremendously high, and competition to get jobs in that field is fierce; but I'm going to try because it's even tougher to make a living from fine art, selling your work to art galleries. There's teaching, of course... Anyway, all of us here are absolutely committed and very, very ambitious.    Interviewer: I'm sure both of you will do well. Thank you.