In this task, you are given a question and a context passage. You have to answer the question based on the given passage.

Input: Consider Input: How did ITV specifically think bid details had been leaked, Context: In the autumn of 1991, talks were held for the broadcast rights for Premier League for a five-year period, from the 1992 season. ITV were the current rights holders, and fought hard to retain the new rights. ITV had increased its offer from 18m to 34m per year to keep control of the rights. BSkyB joined forces with the BBC to make a counter bid. The BBC was given the highlights of most of the matches, while BSkyB paying 304m for the Premier League rights, would give them a monopoly of all live matches, up to 60 per year from the 1992 season. Murdoch described sport as a "battering ram" for pay-television, providing a strong customer base. A few weeks after the deal, ITV went to the High Court to get an injunction as it believed their bid details had been leaked before the decision was taken. ITV also asked the Office of Fair Trading to investigate since it believed Rupert Murdoch's media empire via its newspapers had influenced the deal. A few days later neither action took effect, ITV believed BSkyB was telephoned and informed of its 262m bid, and Premier League advised BSkyB to increase its counter bid.

Output: ITV believed BSkyB was telephoned and informed of its 262m bid, and Premier League advised BSkyB to increase its counter bid

Input: Consider Input: when did the united kingdom develop thier cultural studies, Context: Scholars in the United Kingdom and the United States developed somewhat different versions of cultural studies after the late 1970s. The British version of cultural studies had originated in the 1950s and 1960s, mainly under the influence first of Richard Hoggart, E. P. Thompson, and Raymond Williams, and later that of Stuart Hall and others at the Centre for Contemporary Cultural Studies at the University of Birmingham. This included overtly political, left-wing views, and criticisms of popular culture as "capitalist" mass culture; it absorbed some of the ideas of the Frankfurt School critique of the "culture industry" (i.e. mass culture). This emerges in the writings of early British cultural-studies scholars and their influences: see the work of (for example) Raymond Williams, Stuart Hall, Paul Willis, and Paul Gilroy.

Output: 1950s and 1960s

Input: Consider Input: Who did Bannister talk about that had avant garde aesthetic?, Context: Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic".
Output: post-punk artists