请阅读Passage 2，完成小题。
Passage 2
Taylor Swift, the seven-time Grammy winner, is known for her articulate lyrics,so there was nothing surprising about her writing a long column for TheWall Street Journal about the future of the music industry. Yet there′ sreason to doubt the optimism of what she had to say \"This moment in musicis so exciting because the creative avenues an artist can exploreare limitless,\" Swift wrote.\"In this moment in music, steppingout of your comfort zone is rewarded,and sonic evolution is not only accepted... it is celebrated. The only real risk is being too afraid to take arisk at all.\"
That′s hard to reconcile with Nielsen′s mid-year U.S. music report, whichshowed a 15 percent year-on-year drop in album sales and a 13 percentdecline in digital track sales. This could be the 2013 story all overagain, in which streaming services cannibalize their growth fromdigital downloads, whose numbers dropped for the first time ever lastyear, except that even including streams, album sales are down 3.3 percentso far in 2014. Streaming has grown even more than it did last year,42percent compared to 32 percent, but has failed to make up for a general loss ofinterest in music.
Consider this: in 2014 to date, Americans purchased 593.6 million digitaltracks and heard 70.3 million video and audio streams for a sum total of663.9 million. In the comparable period of 2013,the total came to 737million.
Swift, one of the few artists able to pull off stadium tours, believes it′s allabout quality.
\"People are still buying albums, but now they′ re buying just a few ofthem,\" she wrote. \"They are buying only the ones that hit themlike an arrow through the heart.\"
In 2000, album sales peaked at 785 million. Last year, they were down to 415.3million. Swift is right, but for many of the artists whose albums piercehearts like arrows, it′s too late. Sales of vinyl albums have increased40.4 percent so far this year, according to Nielsen, and thetop-selling one was guitar hero Jack White′ s Lazaretto. The top 10 alsoincludes records by the aging or dead,such as the Beatles and Bob Marley &the Wailers. More modern entries are not exactly teen sensations, either:the Black Keys, Beck and the Arctic Monkeys. None of these artists is presenton the digital sales charts, including or excluding streams. Thetop-selling album so far this year, by a huge margin, is the saccharinesoundtrack to the Disney animated hit, \"Frozen\".
When, like me, you′re over 40 and you believe the music industry has been indecline since in 1993 (the year Nirvana released in Utero), it′ s easy tocriticize the music taste of \"the kids these days,\" a termeven the 23-year old Swift uses. My fellow dinosaurs will understand if theycompare 1993′s top albums to Nielsen′s 2014 list. But these kids don′tjust like to listen to different music than we do, they no longer findmuch worth hearing.
The way the music industry works now may have something to do with that. In theold days, musicians showed their work to industry executives, the way mostbook authors still do to publishers (although that tradition, too, iseroding). The executives made mistakes and were credited withbrilliant finds. Sometimes they followed the public taste, and sometimesthey strove to shape it, taking big financial and career risks in theprocess. These days, according to Swift, it′s all about thesocial networks. \"A friend of mine, who is an actress, told me thatwhen the casting for her recent movie came down to two actresses, the castingdirector chose the actress with more Twitter followers,\" Swift wrote.
\"In the future, artists will get record deals because they have fans--notthe other way around.\"
The social networks are fickle and self-consciously sarcastic(see the recent potatosalad phenomenon). They are not about arrow-through-the-heart sincerity.That′ s why YouTube made Psy a star, but it couldn′t have been the mediumfor Beatle mania. Justin Timberlake has 32.9 million Twitter followers,but he′ s no Jack White.
In the music industry′ s heyday, it produced a lot of schlock. But it got greatmusic out to the masses, too. These days, it expects artists to do theirown promotion and for those who less good at that than at making music, itmay mean not getting heard. For fans it means less good music to streamand download. Well, there′s always the warm and fuzzy world of vinyl nostalgia,I guess.
How does the writer perceive Swift′s attitude towards the future of the musicindustry?

A.She is no doubt over-optimistic about it.

B.She is too young to make a reliable judgment.

C.She is professional enough to predicate it wisely.

D.She doesn' t follow what others have said about it.