rajpurkar/squad huggingface dataset:
Title: Post-punk

The scope of the term "post-punk" has been subject to controversy. While some critics, such as AllMusic's Stephen Thomas Erlewine, have employed the term "post-punk" to denote "a more adventurous and arty form of punk", others have suggested it pertains to a set of artistic sensibilities and approaches rather than any unifying style. Music journalist and post-punk scholar Simon Reynolds has advocated that post-punk be conceived as "less a genre of music than a space of possibility", suggesting that "what unites all this activity is a set of open-ended imperatives: innovation; willful oddness; the willful jettisoning of all things precedented or 'rock'n'roll'". Nicholas Lezard, problematizing the categorization of post-punk as a genre, described the movement as "so multifarious that only the broadest use of the term is possible".

Question: Who described post-punk as "a more adventurous and arty form of punk"?
Answer: Stephen Thomas Erlewine

Question: Who described post-punk as  "less a genre of music than a space of possibility"?
Answer: Simon Reynolds

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

Question: Who does music critic Stephen Thomas Erlewine work for?
Answer: AllMusic

Question: What as the blanket term "post-punk" been the target of?
Answer: controversy

Question: What organization is Stephen Thomas Erlewine associated with?
Answer: AllMusic

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

Question: Why type of scholar is music journalist Simon Reynolds?
Answer: post-punk

Question: Why is only the broadest use of genre possible when trying to categorize what actually defines post-punk?
Answer: multifarious
Title: Post-punk

Generally, post-punk music is defined as music that emerged from the cultural milieu of punk rock in the late 1970s, although many groups now categorized as post-punk were initially subsumed under the broad umbrella of punk or new wave music, only becoming differentiated as the terms came to signify more narrow styles. Additionally, the accuracy of the term's chronological prefix "post" has been disputed, as various groups commonly labeled post-punk in fact predate the punk rock movement. Reynolds defined the post-punk era as occurring loosely between 1978 and 1984.

Question: What is post-punk?
Answer: music that emerged from the cultural milieu of punk rock in the late 1970s

Question: What else was music incorrectly catagorized into before post-punk?
Answer: new wave music

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

Question: What is the acctepted era of post-punk?
Answer: between 1978 and 1984

Question: What previous movement is post-punk often identified as coming after?
Answer: punk rock

Question: What were many groups now labeled as post-punk initially categorized as?
Answer: punk or new wave music

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

Question: Who has defined a period of when the post-punk era was?
Answer: Reynolds

Question: Between what years did Reynolds identify the post-punk era as existing?
Answer: 1978 and 1984
Title: Post-punk

During the initial punk era, a variety of entrepreneurs interested in local punk-influenced music scenes began founding independent record labels, including Rough Trade (founded by record shop owner Geoff Travis) and Factory (founded by Manchester-based television personality Tony Wilson). By 1977, groups began pointedly pursuing methods of releasing music independently , an idea disseminated in particular by the Buzzcocks' release of their Spiral Scratch EP on their own label as well as the self-released 1977 singles of Desperate Bicycles. These DIY imperatives would help form the production and distribution infrastructure of post-punk and the indie music scene that later blossomed in the mid-1980s.

Question: WHich independent music company was founded by Geoff Travis?
Answer: Rough Trade

Question: Who founded Factory?
Answer: Tony Wilson

Question: When did releasing music indepentently really hit popularity?
Answer: 1977

Question: Who released Spiral Scratch on their own label?
Answer: Buzzcocks

Question: When did the indoe music scene begin to grow?
Answer: mid-1980s

Question: What did many entrepreneurs interested in their local punk-influenced music scenes found?
Answer: independent record labels

Question: Who founded the record label Rough Trade?
Answer: Geoff Travis

Question: Where was Tony Wilson's Factory based?
Answer: Manchester

Question: When did some groups start looking for methods to release their music themselves?
Answer: 1977

Question: Whose label did the Buzzcocks release their Spiral Scratch EP on?
Answer: their own
Title: Post-punk

In late 1977, music writers for Sounds first used the terms "New Musick" and "post punk" to describe British acts such as Siouxsie and the Banshees and Wire, who began experimenting with sounds, lyrics and aesthetics that differed significantly from their punk contemporaries. Writer Jon Savage described some of these early developments as exploring "harsh urban scrapings [,] controlled white noise" and "massively accented drumming". In January 1978, singer John Lydon (then known as Johnny Rotten) announced the break-up of his pioneering punk band the Sex Pistols, citing his disillusionment with punk's musical predictability and cooption by commercial interests, as well as his desire to explore more diverse interests.

Question: When did writers for Sounds first mention "post punk"?
Answer: late 1977

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

Question: What career path did Jon Savage take in life?
Answer: Writer

Question: When did the Sex Pistols break up?
Answer: January 1978

Question: Who was Siouxsie backed by?
Answer: the Banshees

Question: What are examples of British bands termed post-punk?
Answer: Siouxsie and the Banshees and Wire

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

Question: Which band's lead singer was Johnny Rotten?
Answer: Sex Pistols

Question: What was Johnny Rotten's real name?
Answer: John Lydon

Question: When did the Sex Pistols break up?
Answer: 1978
Title: Post-punk

As the initial punk movement dwindled, vibrant new scenes began to coalesce out of a variety of bands pursuing experimental sounds and wider conceptual territory in their work. Many of these artists drew on backgrounds in art and viewed their music as invested in particular political or aesthetic agendas. British music publications such as the NME and Sounds developed an influential part in this nascent post-punk culture, with writers like Jon Savage, Paul Morley and Ian Penman developing a dense (and often playful) style of criticism that drew on critical theory, radical politics and an eclectic variety of other sources.

Question: When the punk movement started shrinking, what began to fill the void left by their demise?
Answer: vibrant new scenes

Question: What territory did the post-punk bands pursue in their works?
Answer: wider conceptual

Question: What nationality's music magazines had an influential part of post-punk culture?
Answer: British

Question: What professional is Ian Penman known from?
Answer: writers

Question: What kind of background did many of the initial post-punk artists have?
Answer: art

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

Question: What were popular post-punk culture media sources?
Answer: NME and Sounds

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

Question: What was a common background of post-punk musicians?
Answer: backgrounds in art

Question: What was a common theme to post-punk music?
Answer: political or aesthetic agendas
Title: Post-punk

Weeks after ending the Sex Pistols, Lydon formed the experimental group Public Image Ltd and declared the project to be "anti music of any kind". Public Image and other acts such as the Pop Group and the Slits had begun experimenting with dance music, dub production techniques and the avant-garde, while punk-indebted Manchester acts such as Joy Division, The Fall and A Certain Ratio developed unique styles which drew on a similarly disparate range of influences across music and modernist literature. Bands such as Scritti Politti, Gang of Four and This Heat incorporated Leftist political philosophy and their own art school studies in their work.

Question: Who was responsible for disbanding the Sex Pistols?
Answer: Lydon

Question: What group declared itself to be anti-music of any kind?
Answer: Public Image Ltd

Question: Where did Joy Division hail from?
Answer: Manchester

Question: What type of literature contributed to Joy Division's unique style?
Answer: modernist

Question: What end of the political spectrum was the political philosophy of Gang of Four?
Answer: Leftist

Question: What band did Johnny Rotten form after the Sex Pistols?
Answer: Public Image Ltd

Question: What kind of group was Public Image Ltd?
Answer: "anti music of any kind"

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

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

Question: Which post-punk bands began to branch off into things like dub and dance music?
Answer: Pop Group and the Slits
Title: Post-punk

The innovative production techniques devised by post-punk producers such as Martin Hannett and Dennis Bovell during this period would become an important element of the emerging music, with studio experimentation taking a central role. A variety of groups that predated punk, such as Cabaret Voltaire and Throbbing Gristle, experimented with crude production techniques and electronic instruments in tandem with performance art methods and influence from transgressive literature, ultimately helping to pioneer industrial music. Throbbing Gristle's independent label Industrial Records would become a hub for this scene and provide it with its namesake.

Question: What type of producer was Martin Hannett?
Answer: post-punk

Question: What type of production techniques did Dennis Bovell develop?
Answer: innovative

Question: What took a central roll for the emerging post-punk music?
Answer: studio experimentation

Question: What eventually resulted in the pioneering of industrial music?
Answer: crude production techniques

Question: Whose independent label became a hub for the industrial scene?
Answer: Throbbing Gristle's

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

Question: What was the name of Throbbing Gristle's record label?
Answer: Industrial Records

Question: Which bands were on the forefront of industrial music?
Answer: Cabaret Voltaire and Throbbing Gristle

Question: Where did industrial music get it's name?
Answer: Industrial Records

Question: What was one of the most important ways that post-punk artists created their new sound?
Answer: studio experimentation
Title: Post-punk

In the mid 1970s, various American groups (some with ties to Downtown Manhattan's punk scene, including Television and Suicide) had begun expanding on the vocabulary of punk music. Midwestern groups such as Pere Ubu and Devo drew inspiration from the region's derelict industrial environments, employing conceptual art techniques, musique concrète and unconventional verbal styles that would presage the post-punk movement by several years. A variety of subsequent groups, including New York-based Talking Heads and Boston-based Mission of Burma, combined elements of punk with art school sensibilities. In 1978, the former band began a series of collaborations with British ambient pioneer and ex-Roxy Music member Brian Eno, experimenting with Dada-influenced lyrical techniques, dance music, and African polyrhythms. San Francisco's vibrant post-punk scene was centered around such groups as Chrome, the Residents and Tuxedomoon, who incorporated multimedia experimentation, film and ideas from Antonin Artaud's Theater of Cruelty.

Question: What nationality began birthing groups who expanded the vocabulary of punk music?
Answer: American

Question: From what region did the group Devo originate? 
Answer: Midwestern

Question: Where was the band Talking Heads based out of?
Answer: New York

Question: Who did the Talking Heads begin a series of collaborations with in 1978?
Answer: Brian Eno

Question: What region's post-punk scene incorporated ideas from Theater of Cruelty?
Answer: San Francisco's

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

Question: Which American bands had ties to the Manchester punk scene?
Answer: Television and Suicide

Question: What were some Midwestern punk bands?
Answer: Pere Ubu and Devo

Question: What did Pere and Devo draw inspiration for their music from?
Answer: derelict industrial environments

Question: What were groups in San Francisco's post-punk scene?
Answer: Chrome, the Residents and Tuxedomoon
Title: Post-punk

Also emerging during this period was New York's no wave movement, a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes and often reflected an abrasive, confrontational and nihilistic worldview. No wave musicians such as the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham instead experimented with noise, dissonance and atonality in addition to non-rock styles. The former four groups were included on the Eno-produced No New York compilation, often considered the quintessential testament to the scene. The no wave-affiliated label ZE Records was founded in 1978, and would also produce acclaimed and influential compilations in subsequent years.

Question: What type of worldview did New York's no wave movement tend to have?
Answer: nihilistic

Question: The Contortions, Teenage Jesus and the Jerks were all musicians part of what movement?
Answer: No wave

Question: Who produced the compilation "No New York"?
Answer: Eno

Question: What no wave-affiliated label was founded in 1978?
Answer: ZE Records

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

Question: What was no wave?
Answer: a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes

Question: What type of a view did no wave have?
Answer: an abrasive, confrontational and nihilistic

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

Question: When was ZE Records founded?
Answer: 1978

Question: What was considered the true portrait of the no wave movement?
Answer: No New York
Title: Post-punk

British post-punk entered the 1980s with support from members of the critical community—American critic Greil Marcus characterised "Britain's postpunk pop avant-garde" in a 1980 Rolling Stone article as "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"—as well as media figures such as BBC DJ John Peel, while several groups, such as PiL and Joy Division, achieved some success in the popular charts. The network of supportive record labels that included Industrial, Fast, E.G., Mute, Axis/4AD and Glass continued to facilitate a large output of music, by artists such as the Raincoats, Essential Logic, Killing Joke, the Teardrop Explodes, and the Psychedelic Furs.

Question: How did critics respond to British post-punk groups in the 1980s?
Answer: support

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

Question: What about the sense of paradox in postpunk different in relation to the pop music of the day?
Answer: unique

Question: What corporation was John Peel a DJ for?
Answer: BBC

Question: What were Fast, Mute, and Glass in the context of post-punk music?
Answer: record labels

Question: When did British post-punk emerge?
Answer: 1980s

Question: Who said that British post-punk was "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"?
Answer: Greil Marcus

Question: What British post-punk bands had success in the popular charts?
Answer: PiL and Joy Division

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

Question: What popular DJ supported the emergence of British post-punk?
Answer: BBC DJ John Peel
Title: Post-punk

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.

Question: What did the magazines catering to post-punk interest do to alienate their readers?
Answer: increasingly esoteric writing

Question: Many of the big players in the post-punk scene began leaning away from what as time progressed?
Answer: underground aesthetics

Question: What writer advocated "overground brightness"?
Answer: Paul Morley

Question: Which magazine tied to the post-punk movement lost half of its circulation?
Answer: NME

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

Question: What did authors and artists begin advocating for instead of the underground scene?
Answer: overground brightness

Question: What began to alienate the readers from publications such as NME?
Answer: increasingly esoteric writing

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

Question: What did the Art of Noise hope to accomplish?
Answer: attempt to bring sampled and electronic sounds to the pop mainstream

Question: Which new cultural movement began to emphasize glam, escapism and fashion?
Answer: New Romantic
Title: Post-punk

Artists such as Gary Numan, the Human League, Soft Cell, John Foxx and Visage helped pioneer a new synthpop style that drew more heavily from electronic and synthesizer music and benefited from the rise of MTV. Post-punk artists such as Scritti Politti's Green Gartside and Josef K's Paul Haig, previously engaged in avant-garde practices, turned away from these approaches and pursued mainstream styles and commercial success. These new developments, in which post-punk artists attempted to bring subversive ideas into the pop mainstream, began to be categorized under the marketing term new pop.

Question: What style of music was Gary Numan associated with?
Answer: synthpop

Question: What did the synthpop style of music benefit from the gaining popularity of?
Answer: MTV

Question: Synthpop heavily borrowed elements from what type of music?
Answer: electronic and synthesizer music

Question: What type of ideas did post-punk artists attempt to sneak into mainstream pop?
Answer: subversive

Question: What did some post-punk artists reject their previous avant-garde practices to pursue?
Answer: commercial success

Question: What new music style focused on electronic and synthesized sounds?
Answer: synthpop

Question: What really helped to launch synthpop?
Answer: MTV

Question: What else began to emerge as post-punk groups moved to a more commercial focus?
Answer: pop

Question: How did pos-punk give rise to pop?
Answer: post-punk artists attempted to bring subversive ideas into the pop mainstream
Title: Post-punk

In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.

Question: When did Manhattan's no wave scene start becoming more dance-oriented?
Answer: early 1980s

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

Question: What type of party could be found at venues like Club 57?
Answer: decadent

Question: Who did the venues because cultural hubs for?
Answer: musicians and visual artists alike

Question: What movement was the group the Lounge Lizards indebted to?
Answer: no wave

Question: What did Downtown Manhattan's no wave scene transition into?
Answer: dance-oriented sound

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

Question: When was ZE's Mutant Disco released?
Answer: 1981

Question: What clubs were frequented by artists in the emerging dance scene?
Answer: Club 57 and the Mudd Club