Branch Rickey lost that fight, but when he became the boss of the Brooklyn Dodgers in 1943, he felt the time for equality in baseball had come. He knew that achieving it would be terribly difficult. There would be deep resentment, determined opposition, and perhaps even racial violence. He was convinced he was morally right, and he shrewdly sensed that making the game a truly national one would have healthy financial results. He took his case before the startled directors of the club, and using persuasive eloquence, he won the first battle in what would be a long and bitter campaign. He was voted permission to make the Brooklyn club the pioneer in bringing blacks into baseball.

Winning his directors' approval was almost insignificant in contrast to the task which now lay ahead of the Dodger president. He made certain that word of his plans did not leak out, particularly to the press.

Which detail best supports the central idea that Branch Rickey understood the risks involved in integrating baseball?

Which of the following is an aspect of setting in a literary work? 1. time ii. place iii. social/historical context i only i and 11 ll and iii i, ii, and iii

Announcer two: ladies and gentlemen, following on the news given in our bulletin a moment ago, the government meteorological bureau has requested the large observatories of the country to keep an astronomical watch on any further disturbances occurring on the planet mars. due to the unusual nature of this occurrence, we have arranged an interview with noted astronomer professor pierson, who will give us his views on the event. in a few moments we will take you to the princeton observatory at princeton, new jersey. we return you until then to the music of ramón raquello and his orchestra. the passage is from the transcript of the radio adaptation of the war of the worlds by h. g. wells. instead of including expert interviews, h. g. wells uses a narrator to tell about an alien invasion that occurred a few years earlier. by including expert interviews, how does the radio broadcast change the story most effectively? o.a. it puts the story in the past tense, increasing its personal tone. o o b. it makes the broadcast sound more like a fictional story. o o c. it makes the broadcast sound like a news report. o d. it makes the story sound less believable by changing who presents the story's details.

Read the excerpt from act 3 of a doll’s house. mrs. linde: you seemed to me to imply that with me you might have been quite another man. krogstad: i am certain of it. mrs. linde: is it too late now? krogstad: christine, are you saying this deliberately? yes, i am sure you are. i see it in your face. have you really the courage, then—? mrs. linde: i want to be a mother to someone, and your children need a mother. we two need each other. nils, i have faith in your real character—i can dare anything together with you. krogstad [grasps her hands]. , , christine! now i shall find a way to clear myself in the eyes of the world. ah, but i forgot— how does the conflict in this passage develop a theme? mrs. linde creates a conflict by promising something she cannot give to krogstad, which develops the theme that empty promises can destroy relationships. krogstad continues the conflict by choosing clearing his name over having a life with mrs. linde, which develops the theme that you must often choose yourself over others. krogstad creates a conflict by deceiving mrs. linde about his intentions, which develops the theme that, in love, actions speak louder than words. mrs. linde resolves the conflict by committing to a new life with krogstad, which develops the theme that new beginnings are always possible.