Question: What venue drove a lot of the awareness of the music from the now pop post-punk bands?

Answer: MTV

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

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


Question: Where was a lot of the post-punk pop bands played in addition to MTV?

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

Answer: American college radio

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

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


Question: What band combined religious imagery with political commentary into their music?

Answer: U2

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

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

Perhaps the most successful band to emerge from post-punk was <hl> U2 <hl> , who combined elements of religious imagery together with political commentary into their often anthemic music.


Question: What was the death knell of the post-punk movement?

Answer: commercial sounds

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

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

The original post-punk movement ended as the bands associated with the movement turned away from its aesthetics, often in favor of more <hl> commercial sounds <hl> .


Question: What else would the post-punk bands record under?

Answer: pop

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

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


Question: Who was the most successful band to arrise from post-punk?

Answer: U2

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

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

Perhaps the most successful band to emerge from post-punk was <hl> U2 <hl> , who combined elements of religious imagery together with political commentary into their often anthemic music.


Question: What was one of the most popular concepts of the pop movement?

Answer: entryism

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

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


Question: What was a driving force behind the revival of the second British Invasion of New Music to America?

Answer: MTV and modern rock radio stations

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

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

In the United States, driven by <hl> MTV and modern rock radio stations <hl> , a number of post-punk acts had an influence on or became part of the Second British Invasion of "New Music" there.


Question: How did most critical writing treat the post-punk era, until recently?

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

Answer: dismissed

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

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


Question: What do contemporary scholars feel the post-punk period contributed in hindsight?

Answer: significant innovations and music

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

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


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

Answer: the sixties

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

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


Question: Who wrote that the music of the post-punk era was avant-garde?

Answer: Nicholas Lezard

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

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


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

Answer: disturbing

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

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


Question: What era was usually dismissed as merely an awkward phase of music?

Answer: post-punk

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

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


Question: What do comtemporary scholars think that post-punk actually did for music?

Answer: produced significant innovations and music on its own

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

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

Contemporary scholars have argued to the contrary, asserting that the period <hl> produced significant innovations and music on its own <hl> .


Question: Which critic said that the post-punk period was open to any possibilities as far as music went?

Answer: Nicholas Lezard

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

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


Question: Who said that the post-punk movement rivaled the Sixties in the shear amount of great music produced?

Answer: Simon Reynolds

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

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


Question: What did Nicholas Leonard say united post-punk?

Answer: cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song

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

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

Nicholas Lezard wrote that the music of the period "was avant-garde, open to any musical possibilities that suggested themselves, united only in the sense that it was very often <hl> cerebral, concocted by brainy young men and women interested as much in disturbing the audience, or making them think, as in making a pop song <hl> ".


Question: What musical styles did post-punk help merge?

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

Answer: white and black musical styles

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

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

Post-punk was an eclectic genre which resulted in a wide variety of musical innovations and helped merge <hl> white and black musical styles <hl> .


Question: What beginnings rose from the dead ashes of post-punk?

Answer: various subsequent genres

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

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

Out of the post-punk milieu came the beginnings of <hl> various subsequent genres <hl> , including new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music.


Question: New wave, industrial music, synthpop and house all share roots in what genre?

Answer: post-punk

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

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


Question: What style of music did post-punk band the Cure play in?

Answer: darker, more morose

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

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


Question: What genre of music did Joy Division help in the development of?

Answer: gothic rock

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

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


Question: Which type of eclectic music had a huge variety, large innovations and an "anything goes" mentality?

Answer: Post-punk

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

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


Question: Which darker post-punk bands gave rise to gothic rock?

Answer: Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure

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

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


Question: Where did systhpop, industrial and neo-psychedelia music derive from?

Answer: Post-punk

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

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


Question: What type of music was gothic rock?

Answer: darker, more morose style

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

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


Question: What styles of music did post-punk pave the way for?

Answer: new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music

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

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

Out of the post-punk milieu came the beginnings of various subsequent genres, including <hl> new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music <hl> .


Question: When did a post-punk revival start happening in England and the Colonies?

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

Answer: turn of the 21st century

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

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

At the <hl> turn of the 21st century <hl> , a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well.


Question: What early sign heralded the post-punk revival?

Answer: emergence of various underground bands

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

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


Question: When did some of the darker post-punk bands start to appear in the indie scene?

Answer: the 2010s

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

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

Additionally, some darker post-punk bands began to appear in the indie music scene in <hl> the 2010s <hl> , including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze.


Question: The post-punk revival bands bring in a fanbase from what subculture?

Answer: indie music

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

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


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

Answer: Savages

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

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


Question: When was the post-punk revival in British and American cultures?

Answer: turn of the 21st century

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

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

At the <hl> turn of the 21st century <hl> , a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well.


Question: Who were the most commercially successful bands of the post-punk revival?

Answer: the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors

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

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


Question: When did the commercially successful post-punk bands begin to hit the scene?

Answer: late 1990s to early 2000s

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

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

However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the <hl> late 1990s to early 2000s <hl> , as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem.


Question: What was the earliest sign of the post-punk revival?

Answer: emergence of various underground bands in the mid-'90s

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

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

The earliest sign of a revival was the <hl> emergence of various underground bands in the mid-'90s <hl> .


Question: Which dark post-punk bands began to emmerge in the indie scene?

Answer: Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum

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

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

Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including <hl> Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum <hl> , who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze.


Question: Which North American version of football calls for 12 player per side on the field?

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)

Answer: Canadian

<hl> In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. <hl> The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)

In Canada, the term "football" may refer to <hl> Canadian <hl> football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)


Question: How many yards wider is a Canadian football field than an American football field?

Answer: 10

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. <hl> In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. <hl> In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly <hl> 10 <hl> yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)


Question: Which version of North American football has smaller end zones?

Answer: American

<hl> In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. <hl> The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)

In Canada, the term "football" may refer to Canadian football and <hl> American <hl> football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)


Question: How many downs does a team have to advance ten yards in Canadian football?

Answer: three

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. <hl> In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. <hl> In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only <hl> three <hl> downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)


Question: How far away from the line of scrimmage must Canadian football defenders be?

Answer: 1 yard

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. <hl> In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. <hl> (The American game has a similar "neutral zone" but it is only the length of the football.)

In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least <hl> 1 yard <hl> from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.)


Question: On which date was the Canadian Junior Football League formed?

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Answer: May 8, 1974

<hl> Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974 , and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. <hl> Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed <hl> May 8, 1974 <hl>, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed <hl> May 8, 1974 <hl> , and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years.


Question: How old are the players in the Quebec Junior Football League?

Answer: 18–22

<hl> Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22 , many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. <hl> Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged <hl> 18–22 <hl>, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged <hl> 18–22 <hl> , many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years.


Question: What trophy is awarded to the winner of Canadian inter-university football competition?

Answer: Vanier Cup

<hl> Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup , and senior leagues such as the Alberta Football League have grown in popularity in recent years. <hl> Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the <hl> Vanier Cup <hl>, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame.

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the <hl> Vanier Cup <hl> , and senior leagues such as the Alberta Football League have grown in popularity in recent years.


Question: What institution memorializes great Canadian football achievements?

Answer: Canadian Football Hall of Fame

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. <hl> Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame . <hl>

Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the <hl> Canadian Football Hall of Fame <hl>.

Great achievements in Canadian football are enshrined in the <hl> Canadian Football Hall of Fame <hl> .


Question: On which date was the first Canadian football game for which a written record has survived?

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

Answer: October 15, 1862

<hl> The first written account of a game played was on October 15, 1862 , on the Montreal Cricket Grounds. <hl> It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

The first written account of a game played was on <hl> October 15, 1862 <hl>, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

The first written account of a game played was on <hl> October 15, 1862 <hl> , on the Montreal Cricket Grounds.


Question: Which team won the first recorded Canadian football game?

Answer: First Battalion Grenadier Guards

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. <hl> It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. <hl> The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the <hl> First Battalion Grenadier Guards <hl> and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.


Question: What is the oldest football club in Canada?

Answer: Hamilton Football Club

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. <hl> The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). <hl> Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the <hl> Hamilton Football Club <hl> formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.


Question: Which founder of Milton, MA also helped develop the rules of Canadian football?

Answer: Christopher Gwynn

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] <hl> In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn , one of the founders of Milton, Massachusetts, devised rules based on rugby football. <hl> The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and <hl> Christopher Gwynn <hl>, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876.

In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and <hl> Christopher Gwynn <hl> , one of the founders of Milton, Massachusetts, devised rules based on rugby football.