romikgosai/squad_modified huggingface dataset:
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.

Questions and answers:
['
Q: How did critics respond to British post-punk groups in the 1980s?
A: support', "
Q: What nationality was the critic who positively characterized Britain's postpunk scene in an 1980 Rolling Stone article?
A: American", '
Q: What about the sense of paradox in postpunk different in relation to the pop music of the day?
A: unique', '
Q: What corporation was John Peel a DJ for?
A: BBC', '
Q: What were Fast, Mute, and Glass in the context of post-punk music?
A: record labels', '
Q: When did British post-punk emerge?
A: 1980s', '
Q: Who said that British post-punk was "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"?
A: Greil Marcus', '
Q: What British post-punk bands had success in the popular charts?
A: PiL and Joy Division', '
Q: Which record labels really supported the British post-punk movement?
A: Industrial, Fast, E.G., Mute, Axis/4AD and Glass', '
Q: What popular DJ supported the emergence of British post-punk?
A: BBC DJ John Peel']
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.

Questions and answers:
['
Q: What did the magazines catering to post-punk interest do to alienate their readers?
A: increasingly esoteric writing', '
Q: Many of the big players in the post-punk scene began leaning away from what as time progressed?
A: underground aesthetics', '
Q: What writer advocated "overground brightness"?
A: Paul Morley', '
Q: Which magazine tied to the post-punk movement lost half of its circulation?
A: NME', '
Q: What did the club-oriented scene emphasize instead of the experimental seriousness of earlier post-punk groups?
A: glamour, fashion, and escapism', '
Q: What did authors and artists begin advocating for instead of the underground scene?
A: overground brightness', '
Q: What began to alienate the readers from publications such as NME?
A: increasingly esoteric writing', '
Q: Who did Paul Morley collaborate with on the Art of Noise?
A: engineer Gary Langan and programmer J. J. Jeczalik', '
Q: What did the Art of Noise hope to accomplish?
A: attempt to bring sampled and electronic sounds to the pop mainstream', '
Q: Which new cultural movement began to emphasize glam, escapism and fashion?
A: New Romantic']
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.

Questions and answers:
['
Q: What style of music was Gary Numan associated with?
A: synthpop', '
Q: What did the synthpop style of music benefit from the gaining popularity of?
A: MTV', '
Q: Synthpop heavily borrowed elements from what type of music?
A: electronic and synthesizer music', '
Q: What type of ideas did post-punk artists attempt to sneak into mainstream pop?
A: subversive', '
Q: What did some post-punk artists reject their previous avant-garde practices to pursue?
A: commercial success', '
Q: What new music style focused on electronic and synthesized sounds?
A: synthpop', '
Q: What really helped to launch synthpop?
A: MTV', '
Q: What else began to emerge as post-punk groups moved to a more commercial focus?
A: pop', '
Q: How did pos-punk give rise to pop?
A: post-punk artists attempted to bring subversive ideas into the pop mainstream']
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.

Questions and answers:
["
Q: When did Manhattan's no wave scene start becoming more dance-oriented?
A: early 1980s", '
Q: What formula did a lot of the artists emerging from the scene adhere to?
A: "anything at all + disco bottom"', '
Q: What type of party could be found at venues like Club 57?
A: decadent', '
Q: Who did the venues because cultural hubs for?
A: musicians and visual artists alike', '
Q: What movement was the group the Lounge Lizards indebted to?
A: no wave', "
Q: What did Downtown Manhattan's no wave scene transition into?
A: dance-oriented sound", '
Q: What type of sound did no wave have before it began to transition to a more dance oriented sound?
A: abrasive', "
Q: When was ZE's Mutant Disco released?
A: 1981", '
Q: What clubs were frequented by artists in the emerging dance scene?
A: Club 57 and the Mudd Club']
In Germany, groups such as Einstürzende Neubauten developed a unique style of industrial music, utilizing avant-garde noise, homemade instruments and found objects. Members of that group would later go on to collaborate with members of the Birthday Party. In Brazil, the post-punk scene grew after the generation of Brasilia rock with bands such as Legião Urbana, Capital Inicial and Plebe Rude and then the opening of the music club Madame Satã in São Paulo, with acts like Cabine C, Titãs, Patife Band, Fellini and Mercenárias, as documented on compilations like The Sexual Life of the Savages and the Não Wave/Não São Paulo series, released in the UK, Germany and Brazil, respectively.[citation needed]

Questions and answers:
['
Q: Where did some groups develop a unique style of industrial music?
A: Germany', '
Q: What type of music included noise, homemade instruments, and randomly found objects?
A: industrial', '
Q: What country had a post-punk scene after a generation of rock?
A: Brazil', '
Q: What type of album was The Sexual Life of the Savages?
A: compilations', "
Q: What countries other than Brazil was Brazil's no wave music exported to?
A: UK, Germany", '
Q: What type of music was associated with Einstürzende Neubauten?
A: industrial', '
Q: Where was Einstürzende Neubauten from?
A: Germany', '
Q: How did Einstürzende Neubauten come up with their new industrial sound?
A: avant-garde noise, homemade instruments and found objects', '
Q: Who did members of Einstürzende Neubauten also collaborate with?
A: the Birthday Party', '
Q: Where was Madame Satã?
A: Brazil']
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.

Questions and answers:
['
Q: What type of music did many of the post-punk bands start indulging in?
A: pop', '
Q: How did bands associated with the original post-punk movement cause it to end?
A: turned away from its aesthetics', '
Q: What venue drove a lot of the awareness of the music from the now pop post-punk bands?
A: MTV', '
Q: Where was a lot of the post-punk pop bands played in addition to MTV?
A: American college radio', '
Q: What band combined religious imagery with political commentary into their music?
A: U2', '
Q: What was the death knell of the post-punk movement?
A: commercial sounds', '
Q: What else would the post-punk bands record under?
A: pop', '
Q: Who was the most successful band to arrise from post-punk?
A: U2', '
Q: What was one of the most popular concepts of the pop movement?
A: entryism', '
Q: What was a driving force behind the revival of the second British Invasion of New Music to America?
A: MTV and modern rock radio stations']
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".

Questions and answers:
['
Q: How did most critical writing treat the post-punk era, until recently?
A: dismissed', '
Q: What do contemporary scholars feel the post-punk period contributed in hindsight?
A: significant innovations and music', '
Q: What did Simon Reynolds describe the era of post-punk as a match for in terms of great music created?
A: the sixties', '
Q: Who wrote that the music of the post-punk era was avant-garde?
A: Nicholas Lezard', '
Q: What were the post-punk era artists more interested in doing to their audiences than in entertaining them with pop songs?
A: disturbing', '
Q: What era was usually dismissed as merely an awkward phase of music?
A: post-punk', '
Q: What do comtemporary scholars think that post-punk actually did for music?
A: produced significant innovations and music on its own', '
Q: Which critic said that the post-punk period was open to any possibilities as far as music went?
A: Nicholas Lezard', '
Q: Who said that the post-punk movement rivaled the Sixties in the shear amount of great music produced?
A: Simon Reynolds', '
Q: What did Nicholas Leonard say united post-punk?
A: 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']
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.

Questions and answers:
['
Q: What musical styles did post-punk help merge?
A: white and black musical styles', '
Q: What beginnings rose from the dead ashes of post-punk?
A: various subsequent genres', '
Q: New wave, industrial music, synthpop and house all share roots in what genre?
A: post-punk', '
Q: What style of music did post-punk band the Cure play in?
A: darker, more morose', '
Q: What genre of music did Joy Division help in the development of?
A: gothic rock', '
Q: Which type of eclectic music had a huge variety, large innovations and an "anything goes" mentality?
A: Post-punk', '
Q: Which darker post-punk bands gave rise to gothic rock?
A: Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure', '
Q: Where did systhpop, industrial and neo-psychedelia music derive from?
A: Post-punk', '
Q: What type of music was gothic rock?
A: darker, more morose style', '
Q: What styles of music did post-punk pave the way for?
A: new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house 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. 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.

Questions and answers:
['
Q: When did a post-punk revival start happening in England and the Colonies?
A: turn of the 21st century', '
Q: What early sign heralded the post-punk revival?
A: emergence of various underground bands', '
Q: When did some of the darker post-punk bands start to appear in the indie scene?
A: the 2010s', '
Q: The post-punk revival bands bring in a fanbase from what subculture?
A: indie music', "
Q: What band played music similar to that of the early British post-punk bands of the late '70s as recently as 2010?
A: Savages", '
Q: When was the post-punk revival in British and American cultures?
A: turn of the 21st century', '
Q: Who were the most commercially successful bands of the post-punk revival?
A: the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors', '
Q: When did the commercially successful post-punk bands begin to hit the scene?
A: late 1990s to early 2000s', "
Q: What was the earliest sign of the post-punk revival?
A: emergence of various underground bands in the mid-'90s", '
Q: Which dark post-punk bands began to emmerge in the indie scene?
A: Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum']
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.)

Questions and answers:
['
Q: Which North American version of football calls for 12 player per side on the field?
A: Canadian', '
Q: How many yards wider is a Canadian football field than an American football field?
A: 10', '
Q: Which version of North American football has smaller end zones?
A: American', '
Q: How many downs does a team have to advance ten yards in Canadian football?
A: three', '
Q: How far away from the line of scrimmage must Canadian football defenders be?
A: 1 yard']
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.

Questions and answers:
['
Q: On which date was the Canadian Junior Football League formed?
A: May 8, 1974', '
Q: How old are the players in the Quebec Junior Football League?
A: 18–22', '
Q: What trophy is awarded to the winner of Canadian inter-university football competition?
A: Vanier Cup', '
Q: What institution memorializes great Canadian football achievements?
A: Canadian Football Hall of Fame']
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.

Questions and answers:
['
Q: On which date was the first Canadian football game for which a written record has survived?
A: October 15, 1862', '
Q: Which team won the first recorded Canadian football game?
A: First Battalion Grenadier Guards', '
Q: What is the oldest football club in Canada?
A: Hamilton Football Club', '
Q: Which founder of Milton, MA also helped develop the rules of Canadian football?
A: Christopher Gwynn', '
Q: What was the first final score recorded of a Canadian football game?
A: 3 goals, 2 rouges to nothing']
The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL.

Questions and answers:
['
Q: On which date was the first governing body for Canadian football formed?
A: March 24, 1873', '
Q: Which governing organization for Canadian football was formed on June 12, 1880?
A: Canadian Rugby Football Union', '
Q: In which year was the Western Interprovincial Football Union founded?
A: 1936', '
Q: Which Canadian football union expanded its scope in 1891? 
A: Canadian Rugby Football Union', '
Q: Which organization founded in 1956 evolved into the modern Canadian Football League?
A: Canadian Football Council']
The Burnside rules closely resembling American Football that were incorporated in 1903 by The ORFU, was an effort to distinguish it from a more rugby-oriented game. The Burnside Rules had teams reduced to 12 men per side, introduced the Snap-Back system, required the offensive team to gain 10 yards on three downs, eliminated the Throw-In from the sidelines, allowed only six men on the line, stated that all goals by kicking were to be worth two points and the opposition was to line up 10 yards from the defenders on all kicks. The rules were an attempt to standardize the rules throughout the country. The CIRFU, QRFU and CRU refused to adopt the new rules at first. Forward passes were not allowed in the Canadian game until 1929, and touchdowns, which had been five points, were increased to six points in 1956, in both cases several decades after the Americans had adopted the same changes. The primary differences between the Canadian and American games stem from rule changes that the American side of the border adopted but the Canadian side did not (originally, both sides had three downs, goal posts on the goal lines and unlimited forward motion, but the American side modified these rules and the Canadians did not). The Canadian field width was one rule that was not based on American rules, as the Canadian game played in wider fields and stadiums that were not as narrow as the American stadiums.

Questions and answers:
['
Q: Which Canadian football rules did the ORFU adopt in 1903?
A: Burnside', '
Q: Which three Canadian football unions resisted the Burnside Rules?
A: CIRFU, QRFU and CRU', '
Q: In which year did forward passes become acceptable in Canadian football?
A: 1929', '
Q: Which style of North American football changed the rules of their game the most from their earliest versions?
A: American']