derek-thomas/squad-v1.1-t5-question-generation huggingface dataset:
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015).

Question: What method did Tennessee use for capital punishment before 1913? Question: In which year was electrocution introduced as Tennessee's method of execution? Question: How many prisoners did Tennessee execute between 1916 and 1960? Question: How many inmates has Tennessee executed since 2000? Question: How many death row inmates were awaiting executing in Tennessee in April 2015?
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles.

Question: What is the nickname of the University of Tennessee, Knoxville athletic teams? Question: In which year did the University of Tennessee begin competing in the Southeastern Conference of the NCAA? Question: How many college football bowl championships have the Tennessee Volunteers won? Question: What is the farthest the Tennessee Volunteers have progressed in the NCAA men's basketball tournament? Question: How many national titles has the Tennessee Volunteers women's basketball team claimed?
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.

Question: What is a name for a type of rock music that is extremely varied in sound? Question: What is post-punk? Question: When did post-punk arrive on the scene? Question: When was the original punk movement? Question: What elements of punk rock did post-punk depart from? Question: How did post-punk take on rock and roll? Question: What subject matter does post-punk commonly mesh its musical sensibilities with? Question: What did post-punk artists use in their music? Question: What developed along with the music developments of post-punk? Question: What began to spring up around the post-punk music?
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".

Question: Who coined the term post-punk? Question: Who were the first to use the term "post-punk"? Question: When was "post-punk" first used to start describing artists? Question: What dis the new term, post-punk, cover? Question: What inspired early post-punk artists? Question: What were many post-punk artists originally inspired by? Question: Why did post-punk fall out of love with punk? Question: How many chords did standard punk songs typically use? Question: What did post-punk artists feel there was an imperative to constantly do? Question: What did the new post-punk artists believe?
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".

Question: As a movement, post-punk has been characterized by its conceptual assault on what conventions? Question: What does post-punk reject any of which are perceived as being traditionalist, hegemonic, or rockist? Question: What were the things that post-punk really got into? Question: What is one of the foundational aspects post-punk is deeply favorable towards? Question: What are non-rock styles that post-punk used as inspiration? Question: How did post-punk artists once again approach the studio? Question: What music did post-punk end to reject? Question: What references did post-punk artists specifically reject of the 1960s rock artists? Question: What aesthetic did Matthew Bannister associate with post-punk?
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.

Question: What was Nicholas Lezard's description of post-punk? Question: How did Nicholas Lezard describe post-punk? Question: Where did post-punk ram its appropriation of ideas into? Question: What tradition could be found in works by Captain Beefheart and David Bowie? Question: Which artists were influential in post-punk? Question: Which writers helped to influence the post-punk movement? Question: What was an intellectual focus of post-punk? Question: What intellectual movement informed and influenced a variety of post-punk artists? Question: How did the post-punk movement feel about big business? Question: Why did many post-punk artists produce and release their own music?
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".

Question: What as the blanket term "post-punk" been the target of? Question: Who does music critic Stephen Thomas Erlewine work for? Question: What organization is Stephen Thomas Erlewine associated with? Question: Who described post-punk as "a more adventurous and arty form of punk"? Question: What have some people suggested post-punk doesn't have, instead being more about approaches and sensibilities? Question: Why type of scholar is music journalist Simon Reynolds? Question: Who described post-punk as  "less a genre of music than a space of possibility"? Question: Who said "so multifarious that only the broadest use of the term is possible" with regards to post-punk? Question: Why is only the broadest use of genre possible when trying to categorize what actually defines post-punk?
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.

Question: What is post-punk? Question: What previous movement is post-punk often identified as coming after? Question: What were many groups now labeled as post-punk initially categorized as? Question: What else was music incorrectly catagorized into before post-punk? Question: Why is the term post-punk sometimes disputed? Question: Why has the prefix 'post' caused a bit of dispute as it relates to various post-punk groups? Question: Who has defined a period of when the post-punk era was? Question: What is the acctepted era of post-punk? Question: Between what years did Reynolds identify the post-punk era as existing?
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.

Question: What did many entrepreneurs interested in their local punk-influenced music scenes found? Question: WHich independent music company was founded by Geoff Travis? Question: Who founded the record label Rough Trade? Question: Where was Tony Wilson's Factory based? Question: Who founded Factory? Question: When did releasing music indepentently really hit popularity? Question: When did some groups start looking for methods to release their music themselves? Question: Who released Spiral Scratch on their own label? Question: Whose label did the Buzzcocks release their Spiral Scratch EP on? Question: When did the indoe music scene begin to grow?
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.

Question: When did writers for Sounds first mention "post punk"? Question: What are examples of British bands termed post-punk? Question: Who was Siouxsie backed by? Question: What did Wire do with sounds, lyrics and aesthetics which different a lot from their peers? Question: What career path did Jon Savage take in life? Question: Who connsidered post-punk "harsh urban scrapings [,] controlled white noise" and "massively accented drumming"? Question: When did the Sex Pistols break up? Question: When did the Sex Pistols break up? Question: What was Johnny Rotten's real name? Question: Which band's lead singer was Johnny Rotten?
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.

Question: When the punk movement started shrinking, what began to fill the void left by their demise? Question: What were the bands coming in on the heels of post-punk beginning to sound like? Question: What territory did the post-punk bands pursue in their works? Question: What was a common background of post-punk musicians? Question: What kind of background did many of the initial post-punk artists have? Question: What was a common theme to post-punk music? Question: What nationality's music magazines had an influential part of post-punk culture? Question: What were popular post-punk culture media sources? Question: What professional is Ian Penman known from? Question: Who were well known authors covering the post-punk era?
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.

Question: Who was responsible for disbanding the Sex Pistols? Question: What group declared itself to be anti-music of any kind? Question: What band did Johnny Rotten form after the Sex Pistols? Question: What kind of group was Public Image Ltd? Question: Which post-punk bands began to branch off into things like dub and dance music? Question: Where did Joy Division hail from? Question: What are some British post-punk bands from Manchester? Question: What type of literature contributed to Joy Division's unique style? Question: Which bands combined way left politics with art school studies? Question: What end of the political spectrum was the political philosophy of Gang of Four?
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.

Question: What type of production techniques did Dennis Bovell develop? Question: What type of producer was Martin Hannett? Question: Who were producers that led the way with emerging the post-punk culture? Question: What took a central roll for the emerging post-punk music? Question: What was one of the most important ways that post-punk artists created their new sound? Question: Which bands were on the forefront of industrial music? Question: What eventually resulted in the pioneering of industrial music? Question: Whose independent label became a hub for the industrial scene? Question: What was the name of Throbbing Gristle's record label? Question: Where did industrial music get it's name?
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.

Question: When did the American groups begin to really get in on the post-punk movement? Question: What nationality began birthing groups who expanded the vocabulary of punk music? Question: Which American bands had ties to the Manchester punk scene? Question: From what region did the group Devo originate? Question: What were some Midwestern punk bands? Question: What did Pere and Devo draw inspiration for their music from? Question: Where was the band Talking Heads based out of? Question: Who did the Talking Heads begin a series of collaborations with in 1978? Question: What region's post-punk scene incorporated ideas from Theater of Cruelty? Question: What were groups in San Francisco's post-punk scene?
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.

Question: What was no wave? Question: What type of a view did no wave have? Question: What type of worldview did New York's no wave movement tend to have? Question: The Contortions, Teenage Jesus and the Jerks were all musicians part of what movement? Question: What types of musicians were the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham? Question: In addition to non-rock styles, what did some of the no-wave groups experiment with sonically? Question: Who produced the compilation "No New York"? Question: What was considered the true portrait of the no wave movement? Question: What no wave-affiliated label was founded in 1978? Question: When was ZE Records founded?
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.

Question: When did British post-punk emerge? Question: How did critics respond to British post-punk groups in the 1980s? Question: What nationality was the critic who positively characterized Britain's postpunk scene in an 1980 Rolling Stone article? Question: Who said that British post-punk was "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"? Question: What about the sense of paradox in postpunk different in relation to the pop music of the day? Question: What corporation was John Peel a DJ for? Question: What popular DJ supported the emergence of British post-punk? Question: What British post-punk bands had success in the popular charts? Question: What were Fast, Mute, and Glass in the context of post-punk music? Question: Which record labels really supported the British post-punk movement?