Post-punk

context: Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.
qas: answers: text: heterogeneous type of rock music
question: What is post-punk?

answers: text: in the wake of the punk movement of the 1970s
question: When did post-punk arrive on the scene?

answers: text: critical theory, cinema, performance art and modernist literature
question: What did post-punk artists use in their music?

answers: text: independent record labels and fanzines
question: What began to spring up around the post-punk music?

answers: text: conceptual assault
question: How did post-punk take on rock and roll?

answers: text: 1970s
question: When was the original punk movement?

answers: text: Post-punk
question: What is a name for a type of rock music that is extremely varied in sound?

answers: text: musical conventions and wider cultural affiliations
question: What elements of punk rock did post-punk depart from?

answers: text: art and politics
question: What subject matter does post-punk commonly mesh its musical sensibilities with?

answers: text: subcultures
question: What developed along with the music developments of post-punk?

context: The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".
qas: answers: text: journalists in the late 1970s
question: Who coined the term post-punk?

answers: text: groups moving beyond punk's sonic template into disparate areas
question: What dis the new term, post-punk, cover?

answers: text: punk's DIY ethic and energy
question: What inspired early post-punk artists?

answers: text: commercial formula, rock convention and self-parody
question: Why did post-punk fall out of love with punk?

answers: text: "radical content demands radical form"
question: What did the new post-punk artists believe?

answers: text: journalists
question: Who were the first to use the term "post-punk"?

answers: text: late 1970s
question: When was "post-punk" first used to start describing artists?

answers: text: punk's DIY ethic and energy
question: What were many post-punk artists originally inspired by?

answers: text: three
question: How many chords did standard punk songs typically use?

answers: text: change
question: What did post-punk artists feel there was an imperative to constantly do?

context: Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".
qas: answers: text: experimentation with production techniques
question: What were the things that post-punk really got into?

answers: text: dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde
question: What are non-rock styles that post-punk used as inspiration?

answers: text: avant-garde
question: What aesthetic did Matthew Bannister associate with post-punk?

answers: text: high cultural references of 1960s rock artists
question: What music did post-punk end to reject?

answers: text: rock
question: As a movement, post-punk has been characterized by its conceptual assault on what conventions?

answers: text: aesthetics
question: What does post-punk reject any of which are perceived as being traditionalist, hegemonic, or rockist?

answers: text: experimentation
question: What is one of the foundational aspects post-punk is deeply favorable towards?

answers: text: as an instrument
question: How did post-punk artists once again approach the studio?

answers: text: high cultural
question: What references did post-punk artists specifically reject of the 1960s rock artists?

context: Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.
qas: answers: text: fusion of art and music
question: How did Nicholas Lezard describe post-punk?

answers: text: Captain Beefheart and David Bowie
question: Which artists were influential in post-punk?

answers: text: William S. Burroughs and J.G. Ballard
question: Which writers helped to influence the post-punk movement?

answers: text: postmodernism
question: What was an intellectual focus of post-punk?

answers: text: anti-corporatist
question: How did the post-punk movement feel about big business?

answers: text: "a fusion of art and music"
question: What was Nicholas Lezard's description of post-punk?

answers: text: musical and pop cultural contexts
question: Where did post-punk ram its appropriation of ideas into?

answers: text: art school
question: What tradition could be found in works by Captain Beefheart and David Bowie?

answers: text: postmodernism
question: What intellectual movement informed and influenced a variety of post-punk artists?

answers: text: anti-corporatist
question: Why did many post-punk artists produce and release their own music?

context: The scope of the term "post-punk" has been subject to controversy. While some critics, such as AllMusic's Stephen Thomas Erlewine, have employed the term "post-punk" to denote "a more adventurous and arty form of punk", others have suggested it pertains to a set of artistic sensibilities and approaches rather than any unifying style. Music journalist and post-punk scholar Simon Reynolds has advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation; willful oddness; the willful jettisoning of all things precedented or 'rock'n'roll'". Nicholas Lezard, problematizing the categorization of post-punk as a genre, described the movement as "so multifarious that only the broadest use of the term is possible".
qas: answers: text: Stephen Thomas Erlewine
question: Who described post-punk as "a more adventurous and arty form of punk"?

answers: text: Simon Reynolds
question: Who described post-punk as  "less a genre of music than a space of possibility"?

answers: text: Nicholas Lezard
question: Who said "so multifarious that only the broadest use of the term is possible" with regards to post-punk?

answers: text: AllMusic
question: Who does music critic Stephen Thomas Erlewine work for?

answers: text: controversy
question: What as the blanket term "post-punk" been the target of?

answers: text: AllMusic
question: What organization is Stephen Thomas Erlewine associated with?

answers: text: unifying style
question: What have some people suggested post-punk doesn't have, instead being more about approaches and sensibilities?

answers: text: post-punk
question: Why type of scholar is music journalist Simon Reynolds?

answers: text: multifarious
question: Why is only the broadest use of genre possible when trying to categorize what actually defines post-punk?

context: Generally, post-punk music is defined as music that emerged from the cultural milieu of punk rock in the late 1970s, although many groups now categorized as post-punk were initially subsumed under the broad umbrella of punk or new wave music, only becoming differentiated as the terms came to signify more narrow styles. Additionally, the accuracy of the term's chronological prefix "post" has been disputed, as various groups commonly labeled post-punk in fact predate the punk rock movement. Reynolds defined the post-punk era as occurring loosely between 1978 and 1984.
qas: answers: text: music that emerged from the cultural milieu of punk rock in the late 1970s
question: What is post-punk?

answers: text: new wave music
question: What else was music incorrectly catagorized into before post-punk?

answers: text: various groups commonly labeled post-punk in fact predate the punk rock movement
question: Why is the term post-punk sometimes disputed?

answers: text: between 1978 and 1984
question: What is the acctepted era of post-punk?

answers: text: punk rock
question: What previous movement is post-punk often identified as coming after?

answers: text: punk or new wave music
question: What were many groups now labeled as post-punk initially categorized as?

answers: text: predate the punk rock movement
question: Why has the prefix 'post' caused a bit of dispute as it relates to various post-punk groups?

answers: text: Reynolds
question: Who has defined a period of when the post-punk era was?

answers: text: 1978 and 1984
question: Between what years did Reynolds identify the post-punk era as existing?

context: During the initial punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including Rough Trade (founded by record shop owner Geoff Travis) and Factory (founded by Manchester-based television personality Tony Wilson). By 1977, groups began pointedly pursuing methods of releasing music independently , an idea disseminated in particular by the Buzzcocks' release of their Spiral Scratch EP on their own label as well as the self-released 1977 singles of Desperate Bicycles. These DIY imperatives would help form the production and distribution infrastructure of post-punk and the indie music scene that later blossomed in the mid-1980s.
qas: answers: text: Rough Trade
question: WHich independent music company was founded by Geoff Travis?

answers: text: Tony Wilson
question: Who founded Factory?

answers: text: 1977
question: When did releasing music indepentently really hit popularity?

answers: text: Buzzcocks
question: Who released Spiral Scratch on their own label?

answers: text: mid-1980s
question: When did the indoe music scene begin to grow?

answers: text: independent record labels
question: What did many entrepreneurs interested in their local punk-influenced music scenes found?

answers: text: Geoff Travis
question: Who founded the record label Rough Trade?

answers: text: Manchester
question: Where was Tony Wilson's Factory based?

answers: text: 1977
question: When did some groups start looking for methods to release their music themselves?

answers: text: their own
question: Whose label did the Buzzcocks release their Spiral Scratch EP on?

context: In late 1977, music writers for Sounds first used the terms "New Musick" and "post punk" to describe British acts such as Siouxsie and the Banshees and Wire, who began experimenting with sounds, lyrics and aesthetics that differed significantly from their punk contemporaries. Writer Jon Savage described some of these early developments as exploring "harsh urban scrapings [,] controlled white noise" and "massively accented drumming". In January 1978, singer John Lydon (then known as Johnny Rotten) announced the break-up of his pioneering punk band the Sex Pistols, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse interests.
qas: answers: text: late 1977
question: When did writers for Sounds first mention "post punk"?

answers: text: experimenting
question: What did Wire do with sounds, lyrics and aesthetics which different a lot from their peers?

answers: text: Writer
question: What career path did Jon Savage take in life?

answers: text: January 1978
question: When did the Sex Pistols break up?

answers: text: the Banshees
question: Who was Siouxsie backed by?

answers: text: Siouxsie and the Banshees and Wire
question: What are examples of British bands termed post-punk?

answers: text: Jon Savage
question: Who connsidered post-punk "harsh urban scrapings [,] controlled white noise" and "massively accented drumming"?

answers: text: Sex Pistols
question: Which band's lead singer was Johnny Rotten?

answers: text: John Lydon
question: What was Johnny Rotten's real name?

answers: text: 1978
question: When did the Sex Pistols break up?

context: As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work. Many of these artists drew on backgrounds in art and viewed their music as invested in particular political or aesthetic agendas. British music publications such as the NME and Sounds developed an influential part in this nascent post-punk culture, with writers like Jon Savage, Paul Morley and Ian Penman developing a dense (and often playful) style of criticism that drew on critical theory, radical politics and an eclectic variety of other sources.
qas: answers: text: vibrant new scenes
question: When the punk movement started shrinking, what began to fill the void left by their demise?

answers: text: wider conceptual
question: What territory did the post-punk bands pursue in their works?

answers: text: British
question: What nationality's music magazines had an influential part of post-punk culture?

answers: text: writers
question: What professional is Ian Penman known from?

answers: text: art
question: What kind of background did many of the initial post-punk artists have?

answers: text: Jon Savage, Paul Morley and Ian Penman
question: Who were well known authors covering the post-punk era?

answers: text: NME and Sounds
question: What were popular post-punk culture media sources?

answers: text: experimental sounds and wider conceptual territory
question: What were the bands coming in on the heels of post-punk beginning to sound like?

answers: text: backgrounds in art
question: What was a common background of post-punk musicians?

answers: text: political or aesthetic agendas
question: What was a common theme to post-punk music?

context: Weeks after ending the Sex Pistols, Lydon formed the experimental group Public Image Ltd and declared the project to be "anti music of any kind". Public Image and other acts such as the Pop Group and the Slits had begun experimenting with dance music, dub production techniques and the avant-garde, while punk-indebted Manchester acts such as Joy Division, The Fall and A Certain Ratio developed unique styles which drew on a similarly disparate range of influences across music and modernist literature. Bands such as Scritti Politti, Gang of Four and This Heat incorporated Leftist political philosophy and their own art school studies in their work.
qas: answers: text: Lydon
question: Who was responsible for disbanding the Sex Pistols?

answers: text: Public Image Ltd
question: What group declared itself to be anti-music of any kind?

answers: text: Manchester
question: Where did Joy Division hail from?

answers: text: modernist
question: What type of literature contributed to Joy Division's unique style?

answers: text: Leftist
question: What end of the political spectrum was the political philosophy of Gang of Four?

answers: text: Public Image Ltd
question: What band did Johnny Rotten form after the Sex Pistols?

answers: text: "anti music of any kind"
question: What kind of group was Public Image Ltd?

answers: text: Scritti Politti, Gang of Four and This Heat
question: Which bands combined way left politics with art school studies?

answers: text: Joy Division, The Fall and A Certain Ratio
question: What are some British post-punk bands from Manchester?

answers: text: Pop Group and the Slits
question: Which post-punk bands began to branch off into things like dub and dance music?

context: The innovative production techniques devised by post-punk producers such as Martin Hannett and Dennis Bovell during this period would become an important element of the emerging music, with studio experimentation taking a central role. A variety of groups that predated punk, such as Cabaret Voltaire and Throbbing Gristle, experimented with crude production techniques and electronic instruments in tandem with performance art methods and influence from transgressive literature, ultimately helping to pioneer industrial music. Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake.
qas: answers: text: post-punk
question: What type of producer was Martin Hannett?

answers: text: innovative
question: What type of production techniques did Dennis Bovell develop?

answers: text: studio experimentation
question: What took a central roll for the emerging post-punk music?

answers: text: crude production techniques
question: What eventually resulted in the pioneering of industrial music?

answers: text: Throbbing Gristle's
question: Whose independent label became a hub for the industrial scene?

answers: text: Martin Hannett and Dennis Bovell
question: Who were producers that led the way with emerging the post-punk culture?

answers: text: Industrial Records
question: What was the name of Throbbing Gristle's record label?

answers: text: Cabaret Voltaire and Throbbing Gristle
question: Which bands were on the forefront of industrial music?

answers: text: Industrial Records
question: Where did industrial music get it's name?

answers: text: studio experimentation
question: What was one of the most important ways that post-punk artists created their new sound?

context: In the mid 1970s, various American groups (some with ties to Downtown Manhattan's punk scene, including Television and Suicide) had begun expanding on the vocabulary of punk music. Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, musique concrète and unconventional verbal styles that would presage the post-punk movement by several years. A variety of subsequent groups, including New York-based Talking Heads and Boston-based Mission of Burma, combined elements of punk with art school sensibilities. In 1978, the former band began a series of collaborations with British ambient pioneer and ex-Roxy Music member Brian Eno, experimenting with Dada-influenced lyrical techniques, dance music, and African polyrhythms. San Francisco's vibrant post-punk scene was centered around such groups as Chrome, the Residents and Tuxedomoon, who incorporated multimedia experimentation, film and ideas from Antonin Artaud's Theater of Cruelty.
qas: answers: text: American
question: What nationality began birthing groups who expanded the vocabulary of punk music?

answers: text: Midwestern
question: From what region did the group Devo originate? 

answers: text: New York
question: Where was the band Talking Heads based out of?

answers: text: Brian Eno
question: Who did the Talking Heads begin a series of collaborations with in 1978?

answers: text: San Francisco's
question: What region's post-punk scene incorporated ideas from Theater of Cruelty?

answers: text: mid 1970s
question: When did the American groups begin to really get in on the post-punk movement?

answers: text: Television and Suicide
question: Which American bands had ties to the Manchester punk scene?

answers: text: Pere Ubu and Devo
question: What were some Midwestern punk bands?

answers: text: derelict industrial environments
question: What did Pere and Devo draw inspiration for their music from?

answers: text: Chrome, the Residents and Tuxedomoon
question: What were groups in San Francisco's post-punk scene?

context: Also emerging during this period was New York's no wave movement, a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes and often reflected an abrasive, confrontational and nihilistic worldview. No wave musicians such as the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles. The former four groups were included on the Eno-produced No New York compilation, often considered the quintessential testament to the scene. The no wave-affiliated label ZE Records was founded in 1978, and would also produce acclaimed and influential compilations in subsequent years.
qas: answers: text: nihilistic
question: What type of worldview did New York's no wave movement tend to have?

answers: text: No wave
question: The Contortions, Teenage Jesus and the Jerks were all musicians part of what movement?

answers: text: Eno
question: Who produced the compilation "No New York"?

answers: text: ZE Records
question: What no wave-affiliated label was founded in 1978?

answers: text: noise, dissonance and atonality
question: In addition to non-rock styles, what did some of the no-wave groups experiment with sonically?

answers: text: a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes
question: What was no wave?

answers: text: an abrasive, confrontational and nihilistic
question: What type of a view did no wave have?

answers: text: No wave
question: What types of musicians were the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham?

answers: text: 1978
question: When was ZE Records founded?

answers: text: No New York
question: What was considered the true portrait of the no wave movement?

context: British post-punk entered the 1980s with support from members of the critical community—American critic Greil Marcus characterised "Britain's postpunk pop avant-garde" in a 1980 Rolling Stone article as "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"—as well as media figures such as BBC DJ John Peel, while several groups, such as PiL and Joy Division, achieved some success in the popular charts. The network of supportive record labels that included Industrial, Fast, E.G., Mute, Axis/4AD and Glass continued to facilitate a large output of music, by artists such as the Raincoats, Essential Logic, Killing Joke, the Teardrop Explodes, and the Psychedelic Furs.
qas: answers: text: support
question: How did critics respond to British post-punk groups in the 1980s?

answers: text: American
question: What nationality was the critic who positively characterized Britain's postpunk scene in an 1980 Rolling Stone article?

answers: text: unique
question: What about the sense of paradox in postpunk different in relation to the pop music of the day?

answers: text: BBC
question: What corporation was John Peel a DJ for?

answers: text: record labels
question: What were Fast, Mute, and Glass in the context of post-punk music?

answers: text: 1980s
question: When did British post-punk emerge?

answers: text: Greil Marcus
question: Who said that British post-punk was "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"?

answers: text: PiL and Joy Division
question: What British post-punk bands had success in the popular charts?

answers: text: Industrial, Fast, E.G., Mute, Axis/4AD and Glass
question: Which record labels really supported the British post-punk movement?

answers: text: BBC DJ John Peel
question: What popular DJ supported the emergence of British post-punk?

context: However, during this period, major figures and artists in the scene began leaning away from underground aesthetics. In the music press, the increasingly esoteric writing of post-punk publications soon began to alienate their readerships; it is estimated that within several years, NME suffered the loss of half its circulation. Writers like Paul Morley began advocating "overground brightness" instead of the experimental sensibilities promoted in early years. Morley's own musical collaboration with engineer Gary Langan and programmer J. J. Jeczalik, the Art of Noise, would attempt to bring sampled and electronic sounds to the pop mainstream. A variety of more pop-oriented groups, including ABC, the Associates, Adam and the Ants and Bow Wow Wow (the latter two managed by former Sex Pistols manager Malcolm McLaren) emerged in tandem with the development of the New Romantic subcultural scene. Emphasizing glamour, fashion, and escapism in distinction to the experimental seriousness of earlier post-punk groups, the club-oriented scene drew some suspicion from denizens of the movement.
qas: answers: text: increasingly esoteric writing
question: What did the magazines catering to post-punk interest do to alienate their readers?

answers: text: underground aesthetics
question: Many of the big players in the post-punk scene began leaning away from what as time progressed?

answers: text: Paul Morley
question: What writer advocated "overground brightness"?

answers: text: NME
question: Which magazine tied to the post-punk movement lost half of its circulation?

answers: text: glamour, fashion, and escapism
question: What did the club-oriented scene emphasize instead of the experimental seriousness of earlier post-punk groups?

answers: text: overground brightness
question: What did authors and artists begin advocating for instead of the underground scene?

answers: text: increasingly esoteric writing
question: What began to alienate the readers from publications such as NME?

answers: text: engineer Gary Langan and programmer J. J. Jeczalik
question: Who did Paul Morley collaborate with on the Art of Noise?

answers: text: attempt to bring sampled and electronic sounds to the pop mainstream
question: What did the Art of Noise hope to accomplish?

answers: text: New Romantic
question: Which new cultural movement began to emphasize glam, escapism and fashion?

context: Artists such as Gary Numan, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV. Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success. These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorized under the marketing term new pop.
qas: answers: text: synthpop
question: What style of music was Gary Numan associated with?

answers: text: MTV
question: What did the synthpop style of music benefit from the gaining popularity of?

answers: text: electronic and synthesizer music
question: Synthpop heavily borrowed elements from what type of music?

answers: text: subversive
question: What type of ideas did post-punk artists attempt to sneak into mainstream pop?

answers: text: commercial success
question: What did some post-punk artists reject their previous avant-garde practices to pursue?

answers: text: synthpop
question: What new music style focused on electronic and synthesized sounds?

answers: text: MTV
question: What really helped to launch synthpop?

answers: text: pop
question: What else began to emerge as post-punk groups moved to a more commercial focus?

answers: text: post-punk artists attempted to bring subversive ideas into the pop mainstream
question: How did pos-punk give rise to pop?

context: In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.
qas: answers: text: early 1980s
question: When did Manhattan's no wave scene start becoming more dance-oriented?

answers: text: "anything at all + disco bottom"
question: What formula did a lot of the artists emerging from the scene adhere to?

answers: text: decadent
question: What type of party could be found at venues like Club 57?

answers: text: musicians and visual artists alike
question: Who did the venues because cultural hubs for?

answers: text: no wave
question: What movement was the group the Lounge Lizards indebted to?

answers: text: dance-oriented sound
question: What did Downtown Manhattan's no wave scene transition into?

answers: text: abrasive
question: What type of sound did no wave have before it began to transition to a more dance oriented sound?

answers: text: 1981
question: When was ZE's Mutant Disco released?

answers: text: Club 57 and the Mudd Club
question: What clubs were frequented by artists in the emerging dance scene?

context: In Germany, groups such as Einstürzende Neubauten developed a unique style of industrial music, utilizing avant-garde noise, homemade instruments and found objects. Members of that group would later go on to collaborate with members of the Birthday Party. In Brazil, the post-punk scene grew after the generation of Brasilia rock with bands such as Legião Urbana, Capital Inicial and Plebe Rude and then the opening of the music club Madame Satã in São Paulo, with acts like Cabine C, Titãs, Patife Band, Fellini and Mercenárias, as documented on compilations like The Sexual Life of the Savages and the Não Wave/Não São Paulo series, released in the UK, Germany and Brazil, respectively.[citation needed]
qas: answers: text: Germany
question: Where did some groups develop a unique style of industrial music?

answers: text: industrial
question: What type of music included noise, homemade instruments, and randomly found objects?

answers: text: Brazil
question: What country had a post-punk scene after a generation of rock?

answers: text: compilations
question: What type of album was The Sexual Life of the Savages?

answers: text: UK, Germany
question: What countries other than Brazil was Brazil's no wave music exported to?

answers: text: industrial
question: What type of music was associated with Einstürzende Neubauten?

answers: text: Germany
question: Where was Einstürzende Neubauten from?

answers: text: avant-garde noise, homemade instruments and found objects
question: How did Einstürzende Neubauten come up with their new industrial sound?

answers: text: the Birthday Party
question: Who did members of Einstürzende Neubauten also collaborate with?

answers: text: Brazil
question: Where was Madame Satã?

context: The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favor of more commercial sounds. Many of these groups would continue recording as part of the new pop movement, with entryism becoming a popular concept. In the United States, driven by MTV and modern rock radio stations, a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there. Some shifted to a more commercial new wave sound (such as Gang of Four), while others were fixtures on American college radio and became early examples of alternative rock. Perhaps the most successful band to emerge from post-punk was U2, who combined elements of religious imagery together with political commentary into their often anthemic music.
qas: answers: text: pop
question: What type of music did many of the post-punk bands start indulging in?

answers: text: turned away from its aesthetics
question: How did bands associated with the original post-punk movement cause it to end?

answers: text: MTV
question: What venue drove a lot of the awareness of the music from the now pop post-punk bands?

answers: text: American college radio
question: Where was a lot of the post-punk pop bands played in addition to MTV?

answers: text: U2
question: What band combined religious imagery with political commentary into their music?

answers: text: commercial sounds
question: What was the death knell of the post-punk movement?

answers: text: pop
question: What else would the post-punk bands record under?

answers: text: U2
question: Who was the most successful band to arrise from post-punk?

answers: text: entryism
question: What was one of the most popular concepts of the pop movement?

answers: text: MTV and modern rock radio stations
question: What was a driving force behind the revival of the second British Invasion of New Music to America?

context: Until recently, in most critical writing the post-punk era was "often dismissed as an awkward period in which punk's gleeful ructions petered out into the vacuity of the Eighties". Contemporary scholars have argued to the contrary, asserting that the period produced significant innovations and music on its own. Simon Reynolds described the period as "a fair match for the sixties in terms of the sheer amount of great music created, the spirit of adventure and idealism that infused it, and the way that the music seemed inextricably connected to the political and social turbulence of its era". Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song".
qas: answers: text: dismissed
question: How did most critical writing treat the post-punk era, until recently?

answers: text: significant innovations and music
question: What do contemporary scholars feel the post-punk period contributed in hindsight?

answers: text: the sixties
question: What did Simon Reynolds describe the era of post-punk as a match for in terms of great music created?

answers: text: Nicholas Lezard
question: Who wrote that the music of the post-punk era was avant-garde?

answers: text: disturbing
question: What were the post-punk era artists more interested in doing to their audiences than in entertaining them with pop songs?

answers: text: post-punk
question: What era was usually dismissed as merely an awkward phase of music?

answers: text: produced significant innovations and music on its own
question: What do comtemporary scholars think that post-punk actually did for music?

answers: text: Nicholas Lezard
question: Which critic said that the post-punk period was open to any possibilities as far as music went?

answers: text: Simon Reynolds
question: Who said that the post-punk movement rivaled the Sixties in the shear amount of great music produced?

answers: text: cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song
question: What did Nicholas Leonard say united post-punk?

context: Post-punk was an eclectic genre which resulted in a wide variety of musical innovations and helped merge white and black musical styles. Out of the post-punk milieu came the beginnings of various subsequent genres, including new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music. Bands such as Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure played in a darker, more morose style of post-punk that lead to the development of the gothic rock genre.
qas: answers: text: white and black musical styles
question: What musical styles did post-punk help merge?

answers: text: various subsequent genres
question: What beginnings rose from the dead ashes of post-punk?

answers: text: post-punk
question: New wave, industrial music, synthpop and house all share roots in what genre?

answers: text: darker, more morose
question: What style of music did post-punk band the Cure play in?

answers: text: gothic rock
question: What genre of music did Joy Division help in the development of?

answers: text: Post-punk
question: Which type of eclectic music had a huge variety, large innovations and an "anything goes" mentality?

answers: text: Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure
question: Which darker post-punk bands gave rise to gothic rock?

answers: text: Post-punk
question: Where did systhpop, industrial and neo-psychedelia music derive from?

answers: text: darker, more morose style
question: What type of music was gothic rock?

answers: text: new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music
question: What styles of music did post-punk pave the way for?

context: At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s.
qas: answers: text: turn of the 21st century
question: When did a post-punk revival start happening in England and the Colonies?

answers: text: emergence of various underground bands
question: What early sign heralded the post-punk revival?

answers: text: the 2010s
question: When did some of the darker post-punk bands start to appear in the indie scene?

answers: text: indie music
question: The post-punk revival bands bring in a fanbase from what subculture?

answers: text: Savages
question: What band played music similar to that of the early British post-punk bands of the late '70s as recently as 2010?

answers: text: turn of the 21st century
question: When was the post-punk revival in British and American cultures?

answers: text: the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors
question: Who were the most commercially successful bands of the post-punk revival?

answers: text: late 1990s to early 2000s
question: When did the commercially successful post-punk bands begin to hit the scene?

answers: text: emergence of various underground bands in the mid-'90s
question: What was the earliest sign of the post-punk revival?

answers: text: Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum
question: Which dark post-punk bands began to emmerge in the indie scene?