Problem: However, during this period, major figures and artists in the scene began leaning away from underground aesthetics. In the music press, the increasingly esoteric writing of post-punk publications soon began to alienate their readerships; it is estimated that within several years, NME suffered the loss of half its circulation. Writers like Paul Morley began advocating "overground brightness" instead of the experimental sensibilities promoted in early years. Morley's own musical collaboration with engineer Gary Langan and programmer J. J. Jeczalik, the Art of Noise, would attempt to bring sampled and electronic sounds to the pop mainstream. A variety of more pop-oriented groups, including ABC, the Associates, Adam and the Ants and Bow Wow Wow (the latter two managed by former Sex Pistols manager Malcolm McLaren) emerged in tandem with the development of the New Romantic subcultural scene. Emphasizing glamour, fashion, and escapism in distinction to the experimental seriousness of earlier post-punk groups, the club-oriented scene drew some suspicion from denizens of the movement.
What groups were not pop-oriented?
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Answer: unanswerable

Problem: The Third Great Awakening refers to a hypothetical historical period that was marked by religious activism in American history and spans the late 1850s to the early 20th century. It affected pietistic Protestant denominations and had a strong element of social activism. It gathered strength from the postmillennial belief that the Second Coming of Christ would occur after mankind had reformed the entire earth. It was affiliated with the Social Gospel Movement, which applied Christianity to social issues and gained its force from the Awakening, as did the worldwide missionary movement. New groupings emerged, such as the Holiness, Nazarene, and Christian Science movements.
What denominations did the Third Great Awakening affect?
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Answer: pietistic Protestant denominations

Problem: On the interior of the building attached shafts often sweep unbroken from floor to ceiling and meet the ribs of the vault, like a tall tree spreading into branches. The verticals are generally repeated in the treatment of the windows and wall surfaces. In many Gothic churches, particularly in France, and in the Perpendicular period of English Gothic architecture, the treatment of vertical elements in gallery and window tracery creates a strongly unifying feature that counteracts the horizontal divisions of the interior structure.
Where are the verticals never repeated in the interior of Gothic buildings?
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Answer:
unanswerable