Question: By what percentage of the popular vote did George W. Bush carry Tennessee in 2004?

Answer: 14%

In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. <hl> Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. <hl> Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.

In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to <hl> 14% <hl> in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.


Question: Democratic presidential candidates from which region's states have fared best in recent Tennessee history?

In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.

Answer: Southern

In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. <hl> Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas. <hl>

In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from <hl> Southern <hl> states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.


Question: Which 2000 presidential candidate was a former US Senator from Tennessee?

Answer: Al Gore

<hl> In the 2000 presidential election, Vice President Al Gore , a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. <hl> Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.

In the 2000 presidential election, Vice President <hl> Al Gore <hl>, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.

In the 2000 presidential election, Vice President <hl> Al Gore <hl> , a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support.


Question: Which 1962 US Supreme Court ruling forced states to realign their voting districts to reflect census findings?

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

Answer: Baker v. Carr

<hl> The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. <hl> It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

The <hl> Baker v. Carr <hl> (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.


Question: What phrase expresses the Supreme Court's 1962 decision that population overrules geographic consideration in election districting?

Answer: one man, one vote

<hl> The Baker v. Carr (1962) decision of the US Supreme Court established the principle of " one man, one vote ", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. <hl> It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "<hl> one man, one vote <hl>", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of " <hl> one man, one vote <hl> ", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses.


Question: A bias in Tennessee politics favoring which type of geographical district gave rise to the Baker v. Carr Supreme Court case?

Answer: rural

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. <hl> This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. <hl> After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding <hl> rural <hl> bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.


Question: Which type of geographical district became more powerful in Tennessee politics following the 1962 Supreme Court decision?

Answer: urban

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. <hl> After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. <hl> The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which <hl> urban <hl> populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.


Question: Which Tennessee law enforcement agency looks for road safety violations?

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.

Answer: Highway Patrol

<hl> The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. <hl> The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.

The <hl> Highway Patrol <hl> is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.


Question: Which Tennessee agency enforces state wildlife regulations outside of parks?

Answer: TWRA

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. <hl> The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. <hl> The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The <hl> TWRA <hl> is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.


Question: What is the acronym for Tennessee's statewide criminal investigation agency?

Answer: TBI

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. <hl> The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. <hl> Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The <hl> TBI <hl> maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.


Question: Who provides law enforcement within Tennessee's state parks?

Answer: Tennessee State Park Rangers

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. <hl> Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system. <hl>

The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. <hl> Tennessee State Park Rangers <hl> are responsible for all activities and law enforcement inside the Tennessee State Parks system.


Question: Which law enforcement entity serves warrants in Tennessee?

Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Answer: Sheriff's Office

<hl> Local law enforcement is divided between County Sheriff's Office s and Municipal Police Departments. <hl> Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County <hl> Sheriff's Office <hl>s and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County <hl> Sheriff's Office <hl> s and Municipal Police Departments.


Question: Each Tennessee county must elect which law enforcement official?

Answer: Sheriff

<hl> Local law enforcement is divided between County Sheriff 's Offices and Municipal Police Departments. <hl> Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County <hl> Sheriff <hl>'s Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County <hl> Sheriff <hl> 's Offices and Municipal Police Departments.


Question: Who is in charge of policing Tennessee counties' unincorporated areas?

Answer: County Sheriff

<hl> Local law enforcement is divided between County Sheriff 's Offices and Municipal Police Departments. <hl> Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between <hl> County Sheriff <hl>'s Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between <hl> County Sheriff <hl> 's Offices and Municipal Police Departments.


Question: Who polices incorporated areas of Tennessee's counties?

Answer: Municipal Police Departments

<hl> Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments . <hl> Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County Sheriff's Offices and <hl> Municipal Police Departments <hl>. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County Sheriff's Offices and <hl> Municipal Police Departments <hl> .


Question: What proportion of Tennessee counties recognize their Sheriff as their head law enforcement official?

Answer: 94 of the 95

Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. <hl> In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. <hl> Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In <hl> 94 of the 95 <hl> counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.


Question: What method did Tennessee use for capital punishment before 1913?

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).

Answer: hanging

Capital punishment has existed in Tennessee at various times since statehood. <hl> Before 1913 the method of execution was hanging . <hl> 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).

Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was <hl> hanging <hl>. 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).

Before 1913 the method of execution was <hl> hanging <hl> .


Question: In which year was electrocution introduced as Tennessee's method of execution?

Answer: 1916

Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. <hl> From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. <hl> 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).

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 <hl> 1916 <hl> 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: How many inmates has Tennessee executed since 2000?

Answer: six

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. <hl> Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). <hl>

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 <hl> six <hl> prisoners and has 73 prisoners on death row (as of April 2015).


Question: How many death row inmates were awaiting executing in Tennessee in April 2015?

Answer: 73

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. <hl> Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). <hl>

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 <hl> 73 <hl> prisoners on death row (as of April 2015).


Question: How many prisoners did Tennessee execute between 1916 and 1960?

Answer: 125

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. <hl> From 1916 to 1960 the state executed 125 inmates. <hl> 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).

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 <hl> 125 <hl> 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 is the nickname of the University of Tennessee, Knoxville athletic teams?

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.

Answer: Volunteers

<hl> In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. <hl> 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.

In Knoxville, the Tennessee <hl> Volunteers <hl> 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: In which year did the University of Tennessee begin competing in the Southeastern Conference of the NCAA?

Answer: 1932

<hl> In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932 . <hl> 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.

In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since <hl> 1932 <hl>. 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.

In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since <hl> 1932 <hl> .


Question: How many college football bowl championships have the Tennessee Volunteers won?

Answer: 25

In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. <hl> 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. <hl> 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.

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 <hl> 25 <hl> 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: How many national titles has the Tennessee Volunteers women's basketball team claimed?

Answer: 8

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. <hl> In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. <hl>

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 <hl> 8 <hl> national titles.


Question: What is the farthest the Tennessee Volunteers have progressed in the NCAA men's basketball tournament?

Answer: Elite Eight

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. <hl> Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. <hl> In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles.

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 <hl> Elite Eight <hl> 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 post-punk?

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.

Answer: heterogeneous type of rock music

<hl> Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. <hl> 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.

Post-punk is a <hl> heterogeneous type of rock music <hl> 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: When did post-punk arrive on the scene?

Answer: in the wake of the punk movement of the 1970s

<hl> Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s . <hl> 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.

Post-punk is a heterogeneous type of rock music that emerged <hl> in the wake of the punk movement of the 1970s <hl>. 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.

Post-punk is a heterogeneous type of rock music that emerged <hl> in the wake of the punk movement of the 1970s <hl> .


Question: What did post-punk artists use in their music?

Answer: critical theory, cinema, performance art and modernist literature

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. <hl> 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 . <hl> Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.

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 <hl> critical theory, cinema, performance art and modernist literature <hl>. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.

The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as <hl> critical theory, cinema, performance art and modernist literature <hl> .


Question: What began to spring up around the post-punk music?

Answer: independent record labels and fanzines

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. <hl> Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. <hl>

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, <hl> independent record labels and fanzines <hl> in conjunction with the music.


Question: How did post-punk take on rock and roll?

Answer: conceptual assault

Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. <hl> 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. <hl> 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.

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 "<hl> conceptual assault <hl>" 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.

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 " <hl> conceptual assault <hl> " on rock tradition.


Question: When was the original punk movement?

Answer: 1970s

<hl> Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s . <hl> 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.

Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the <hl> 1970s <hl>. 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.

Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the <hl> 1970s <hl> .


Question: What is a name for a type of rock music that is extremely varied in sound?

Answer: Post-punk

<hl> Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. <hl> 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.

<hl> Post-punk <hl> 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 elements of punk rock did post-punk depart from?

Answer: musical conventions and wider cultural affiliations

Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. <hl> 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. <hl> 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.

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 <hl> musical conventions and wider cultural affiliations <hl>, 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.

Drawing inspiration from elements of punk rock while departing from its <hl> musical conventions and wider cultural affiliations <hl> , post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition.


Question: What subject matter does post-punk commonly mesh its musical sensibilities with?

Answer: art and politics

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. <hl> 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. <hl> Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.

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 <hl> art and politics <hl>, 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.

The movement also saw the frequent intersection of music with <hl> art and politics <hl> , as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature.


Question: What developed along with the music developments of post-punk?

Answer: subcultures

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. <hl> Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. <hl>

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 <hl> subcultures <hl> that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.


Question: Who coined the term post-punk?

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".

Answer: journalists in the late 1970s

<hl> 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. <hl> 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".

The term "post-punk" was first used by <hl> journalists in the late 1970s <hl> 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: What dis the new term, post-punk, cover?

Answer: groups moving beyond punk's sonic template into disparate areas

<hl> 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 . <hl> 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".

The term "post-punk" was first used by journalists in the late 1970s to describe <hl> groups moving beyond punk's sonic template into disparate areas <hl>. 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".

The term "post-punk" was first used by journalists in the late 1970s to describe <hl> groups moving beyond punk's sonic template into disparate areas <hl> .


Question: What inspired early post-punk artists?

Answer: punk's DIY ethic and energy

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. <hl> 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. <hl> 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".

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 <hl> punk's DIY ethic and energy <hl>, 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".

Many of these artists, initially inspired by <hl> punk's DIY ethic and energy <hl> , ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody.


Question: Why did post-punk fall out of love with punk?

Answer: commercial formula, rock convention and self-parody

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. <hl> 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 . <hl> 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".

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 <hl> commercial formula, rock convention and self-parody <hl>. 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".

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 <hl> commercial formula, rock convention and self-parody <hl> .


Question: What did the new post-punk artists believe?

Answer: "radical content demands radical form"

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. <hl> These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form" . <hl>

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 <hl> "radical content demands radical form" <hl>.

These artists instead defined punk as "an imperative to constant change", believing that <hl> "radical content demands radical form" <hl> .


Question: Who were the first to use the term "post-punk"?

Answer: journalists

<hl> 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. <hl> 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".

The term "post-punk" was first used by <hl> journalists <hl> 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: When was "post-punk" first used to start describing artists?

Answer: late 1970s

<hl> 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. <hl> 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".

The term "post-punk" was first used by journalists in the <hl> late 1970s <hl> 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: What were many post-punk artists originally inspired by?

Answer: punk's DIY ethic and energy

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. <hl> 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. <hl> 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".

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 <hl> punk's DIY ethic and energy <hl>, 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".

Many of these artists, initially inspired by <hl> punk's DIY ethic and energy <hl> , ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody.


Question: How many chords did standard punk songs typically use?

Answer: three

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. <hl> 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. <hl> These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".

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 <hl> three <hl>-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".

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 <hl> three <hl> -chord progressions and Chuck Berry-based guitar riffs.


Question: What did post-punk artists feel there was an imperative to constantly do?

Answer: change

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. <hl> These artists instead defined punk as "an imperative to constant change ", believing that "radical content demands radical form". <hl>

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 <hl> change <hl>", believing that "radical content demands radical form".

These artists instead defined punk as "an imperative to constant <hl> change <hl> ", believing that "radical content demands radical form".


Question: What were the things that post-punk really got into?

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".

Answer: experimentation with production techniques

<hl> 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. <hl> 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".

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 <hl> experimentation with production techniques <hl> 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: What are non-rock styles that post-punk used as inspiration?

Answer: dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde

<hl> 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 . <hl> 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".

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 <hl> dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde <hl>. 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".

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 <hl> dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde <hl> .


Question: What aesthetic did Matthew Bannister associate with post-punk?

Answer: avant-garde

<hl> 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 . <hl> 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".

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 <hl> avant-garde <hl>. 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".

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 <hl> avant-garde <hl> .


Question: What music did post-punk end to reject?

Answer: high cultural references of 1960s rock artists

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. <hl> 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". <hl>

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 <hl> high cultural references of 1960s rock artists <hl> 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".