Post-punk

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

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

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

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

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

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

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

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

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

question: What type of music developed from rock music?

question: What tradition did post-punk embrace?

question: What music conventions did post-punk draw insperation from?

question: What did Punk artist embrace?

question: How did Post-Punk take on Punk music?

question: What elements of punk rock did post-punk have in common?

question: When did the popularity of post-punk end?

question: What did punk music have that wasn't included in post-punk music?

question: What type of rock music has no variation in sound?

question: What subject matter is avoided in post-punk music?
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: question: Who coined the term post-punk?
answers: text: journalists in the late 1970s

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

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

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

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

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

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

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

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

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

question: Who was falsely rumored to have coined the term post-punk?

question: Why were the artists not initially inspired?

question: How many chords are never used in punk music?

question: What did post-punk artists have difficulty with supporting?

question: When was the term punk first used?
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: question: What were the things that post-punk really got into?
answers: text: experimentation with production techniques

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

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

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

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

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

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

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

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

question: What movement was characterized by its "conceptualassult" on punk conventions?

question: What are rock styles that post-punk used for insperation?

question: What aesthetic did Mathew Bannister associate with punk?

question: What did punk asrtist embrace from 1960's rock?

question: What music styles where rejected by post-punk?

question: What was something nobody in post-punk focused on?

question: What aesthetic did Matthew Bannister not associate with post-punk?

question: What did post-punk artists support most?

question: What type of music did post-punk inspire most?
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: question: How did Nicholas Lezard describe post-punk?
answers: text: fusion of art and music

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

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

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

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

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

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

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

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

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

question: What does L.G Ballard describes post-punk  as?

question: What did artists want to make a distinction between?

question: What disciplines appropriated ideas from post-punk?

question: What writers were influenced by the post-punk movement?

question: What culture did journalists not participate in?

question: How did Nicholas Lezard  refuse to describe post-punk?

question: Which artists did not influence post-punk?

question: What was not an intellectual focus of post-punk?

question: Why did post-punk artists never produce and release their own music?

question: Who was not an important element of the culture?
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: question: Who described post-punk as "a more adventurous and arty form of punk"?
answers: text: Stephen Thomas Erlewine

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

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

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

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

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

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

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

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

question: Who described post-punk as "a less adventutous and arty form of punk"

question: What did Nicholas Lezard say post-punk was more of?

question: What did Simon Reynold describe as multifarious?

question: Who does the music critic Nicholas Lezard work for?

question: What is Stephen Thomas Erlwine a scholar of?

question: What has the term "post-punk" never been the focus of?

question: Who never employed the term "post-punk"?

question: Who suggested that post-punk be conceived as "more a genre of music than a space of possibility"?

question: Who never cared about the categorization of post-punk as a genre?
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: question: What is post-punk?
answers: text: music that emerged from the cultural milieu of punk rock in the late 1970s

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

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

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

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

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

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

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

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

question: What do various groups say predated post punk?

question: Between what years did the punk movement occur?

question: What were groups categorized as post-punk later changed to?

question: Who said the post punk era occurred in the 80s?

question: What is post-punk not defined as?

question: What else was music correctly catagorized into before post-punk?

question: Which years was the punk era between?

question: Which prefix was never disputed?
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: question: WHich independent music company was founded by Geoff Travis?
answers: text: Rough Trade

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

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

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

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

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

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

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

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

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

question: What was started by people interested in national punk influenced music?

question: What do group stop doing by 1977?

question: What music scene developed in the 70s as a result of the postpunk DIY imperative?

question: Where was Geoff Travis's Factory based?

question: Who released their Spiral Scratch EP on the Rough Trade label?

question: What year was independent music considered the least popular?

question: Who wasn't interested during the initial punk era?

question: When did the post-punk era first begin?

question: Who never released music on their own label?

question: What record label was never independent?
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: question: When did writers for Sounds first mention "post punk"?
answers: text: late 1977

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

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

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

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

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

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

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

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

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

question: What term was first used in 1978 by writers for Sounds?

question: Who used sounds and lyrics similar to their contemporaries in 1977?

question: What did Sounds writers describeearly developments in mew wave music?

question: When did John Lydon anounce the break up of the Wire?

question: When did music writers for Sounds last mention "post punk"?

question: What career did Jon Savage avoid?

question: When did the Sex Pistols form?

question: Which British acts never experimented with sounds?

question: What was seen as one of the least successful punk bands?
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: question: When the punk movement started shrinking, what began to fill the void left by their demise?
answers: text: vibrant new scenes

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

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

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

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

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

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

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

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

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

question: What happened as the pot-punk movement dwindled?

question: What did American music magazines have an influence on? See later

question: What fueled the many postpunk artists go into?

question: What American writers developed a dense style of criticism?

question: What caused the punk movement to increase in popularity?

question: What career did Paul Morley avoid?

question: What nationality's music magazines did not have an influential part of post-punk culture?

question: What styles of criticism were not used by writers?
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: question: Who was responsible for disbanding the Sex Pistols?
answers: text: Lydon

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

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

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

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

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

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

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

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

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

question: What group did Lyndon start before the sex pistols?

question: What the public image declare their music to be?

question: What type of literature contributed to the sex pistol style?

question: What end of the political spectrum was Joy division's political philosophy one?

question: Which group supported music the most during this time?

question: Which groups refused to experiment in music?

question: Which groups ignored Leftist political philosophy?

question: What band was formed after Public Image Ltd?
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: question: What type of production techniques did Dennis Bovell develop?
answers: text: innovative

question: What type of producer was Martin Hannett?
answers: text: post-punk

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

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

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

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

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

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

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

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

question: Who avoided post-punk production?

question: Who did not predate punk?

question: Who did not help to pioneer industrial music?

question: What label avoided this scene?
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: question: What nationality began birthing groups who expanded the vocabulary of punk music?
answers: text: American

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

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

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

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

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

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

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

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

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

question: What groups were not interested in the punk scene?

question: Which environments were not inspirational to music?

question: What elements were never combined with punk?

question: What year was the least influential for post-punk?
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: question: What type of worldview did New York's no wave movement tend to have?
answers: text: nihilistic

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

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

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

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

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

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

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

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

question: What musicians avoided no wave?

question: In what year did ZE Records end production?

question: What states were considered the least influential for the no wave movement?

question: What musicians refused to experiment with their style?
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: question: How did critics respond to British post-punk groups in the 1980s?
answers: text: support

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

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

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

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

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

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: Greil Marcus

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

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

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

question: When did post-punk not get the support it needed?

question: Which groups didn't find success?

question: What record labels were not supportive?

question: What artists never had record labels?
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: question: Many of the big players in the post-punk scene began leaning away from what as time progressed?
answers: text: underground aesthetics

question: What did the magazines catering to post-punk interest do to alienate their readers?
answers: text: increasingly esoteric writing

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

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

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

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

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

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

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

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

question: Who did Morley not want to collaborate with?

question: What groups were not pop-oriented?

question: What scene did not emphasize fashion or glamour?

question: What scene was not club-oriented?

question: What music genre never had writing publications?
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: question: What style of music was Gary Numan associated with?
answers: text: synthpop

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

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

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

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

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

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

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

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

question: What music did not benefit from the rise of MTV?

question: Which artists did not like post-punk?

question: What group avoided subversive ideas?

question: What term was never marketed?
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: question: When did Manhattan's no wave scene start becoming more dance-oriented?
answers: text: early 1980s

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

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

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

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

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

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

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

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

question: When did the no wave scene decide not to transition?

question: Which venues avoided parties?

question: Who was rarely on the scene?

question: What groups were not influenced by no wave?

question: What groups enjoyed calm territory?
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: question: Where did some groups develop a unique style of industrial music?
answers: text: Germany

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

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

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

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

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

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

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

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

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

question: Which country disliked utilization of avant-garde noise?

question: What groups never collaborated with members of the Birthday Party?

question: Where did the post-punk scene shrink?

question: Where was industrial music never released?
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: question: How did bands associated with the original post-punk movement cause it to end?
answers: text: turned away from its aesthetics

question: What type of music did many of the post-punk bands start indulging in?
answers: text: pop

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

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

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

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

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

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

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

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

question: What did bands associated with post-punk never turn away from?

question: Where was post-punk not driven by MTV or modern rock radio stations?

question: Who decided not to shift their sound?

question: Which bands were least successful during post-punk?
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: question: How did most critical writing treat the post-punk era, until recently?
answers: text: dismissed

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

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

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

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

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

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

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

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

question: What did Nicholas Leonard say united post-punk?
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 musical period had no innovations?

question: Who didn't like to write about post-punk music?

question: When did post-punk music lose popularity to contemporary scholars?

question: Who never talked about the post-punk period?
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: question: What musical styles did post-punk help merge?
answers: text: white and black musical styles

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

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

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

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

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

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

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

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

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

question: What genre was not eclectic?

question: What musical genre had limited variety of musical innovations?

question: Which genres were least influenced by post-punk?

question: Which bands had a lighter style of music?

question: What kinds of rock genre were not influenced by 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: question: When did a post-punk revival start happening in England and the Colonies?
answers: text: turn of the 21st century

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

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

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

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: Savages

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

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

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

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

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

question: When did post-punk music lose popularity?

question: Which bands never found commercial success?

question: Which bands disliked dance?

question: Which post-punk bands avoided darker style?

question: What subculture avoided darker post-punk bands the most?
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.