romikgosai/squad_modified_2 huggingface dataset:
After disenfranchisement of blacks, the GOP in Tennessee was historically a sectional party supported by whites only in the eastern part of the state. In the 20th century, except for two nationwide Republican landslides of the 1920s (in 1920, when Tennessee narrowly supported Warren G. Harding over Ohio Governor James Cox, and in 1928, when it more decisively voted for Herbert Hoover over New York Governor Al Smith, a Catholic), the state was part of the Democratic Solid South until the 1950s. In that postwar decade, it twice voted for Republican Dwight D. Eisenhower, former Allied Commander of the Armed Forces during World War II. Since then, more of the state's voters have shifted to supporting Republicans, and Democratic presidential candidates have carried Tennessee only four times.

Q1: Which Republican presidential candidate did Tennessee support in 1920?
A1: Warren G. Harding
Q2: What religion was the Democratic presidential candidate that Tennessee voted against in 1928?
A2: Catholic
Q3: How many times has Tennessee supported Democratic presidential candidates in the general elections since the 1950s?
A3: four
Q4: Which Republican won the Presidency while carrying Tennessee in 1928?
A4: Herbert Hoover
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives.

Q1: In 1960, what group made up 16.45% of Tennessee's population?
A1: African Americans
Q2: What Congressional Act fully re-enfranchised African-American in Tennessee?
A2: Voting Rights Act of 1965
Q3: Which Republican Senator's 1970 victory showed the Republican Party's renewed competitiveness in Tennessee?
A3: Bill Brock
Q4: Which constituency has become the Republican Party's staunchest supporters in Tennessee?
A4: white conservatives
Q5: Which Republican was elected Tennessee Governor in 1970?
A5: Winfield Dunn
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859.

Q1: Which two Tennessee cities are most supportive of the Democratic Party?
A1: Nashville and Memphis
Q2: Which Tennessee city has the largest African-American population?
A2: Memphis
Q3: Which two eastern Tennessee congressional districts have the longest track record of favoring Republican candidates?
A3: 1st and 2nd
Q4: Since which year has Tennessee's 1st congressional district voted overwhelmingly Republican?
A4: 1881
Q5: Which two Tennessee metropolitan areas have been most supportive of the Republican Party?
A5: Tri-Cities and Knoxville
In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas.

Q1: Which Democratic candidate lost his own state in the 2000 general election?
A1: Al Gore
Q2: By what percentage of the popular vote did George W. Bush carry Tennessee in 2004?
A2: 14%
Q3: Democratic presidential candidates from which region's states have fared best in recent Tennessee history?
A3: Southern
Q4: Which 2000 presidential candidate was a former US Senator from Tennessee?
A4: Al Gore
The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana.

Q1: Which 1962 US Supreme Court ruling forced states to realign their voting districts to reflect census findings?
A1: Baker v. Carr
Q2: What phrase expresses the Supreme Court's 1962 decision that population overrules geographic consideration in election districting?
A2: one man, one vote
Q3: A bias in Tennessee politics favoring which type of geographical district gave rise to the Baker v. Carr Supreme Court case?
A3: rural
Q4: Which type of geographical district became more powerful in Tennessee politics following the 1962 Supreme Court decision?
A4: urban
The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system.

Q1: Which Tennessee law enforcement agency looks for road safety violations?
A1: Highway Patrol
Q2: Which Tennessee agency enforces state wildlife regulations outside of parks?
A2: TWRA
Q3: What is the acronym for Tennessee's statewide criminal investigation agency?
A3: TBI
Q4: Who provides law enforcement within Tennessee's state parks?
A4: Tennessee State Park Rangers
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits.

Q1: Which law enforcement entity serves warrants in Tennessee?
A1: Sheriff's Office
Q2: Each Tennessee county must elect which law enforcement official?
A2: Sheriff
Q3: Who is in charge of policing Tennessee counties' unincorporated areas?
A3: County Sheriff
Q4: Who polices incorporated areas of Tennessee's counties?
A4: Municipal Police Departments
Q5: What proportion of Tennessee counties recognize their Sheriff as their head law enforcement official?
A5: 94 of the 95
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015).

Q1: What method did Tennessee use for capital punishment before 1913?
A1: hanging
Q2: In which year was electrocution introduced as Tennessee's method of execution?
A2: 1916
Q3: How many inmates has Tennessee executed since 2000?
A3: six
Q4: How many death row inmates were awaiting executing in Tennessee in April 2015?
A4: 73
Q5: How many prisoners did Tennessee execute between 1916 and 1960?
A5: 125
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles.

Q1: What is the nickname of the University of Tennessee, Knoxville athletic teams?
A1: Volunteers
Q2: In which year did the University of Tennessee begin competing in the Southeastern Conference of the NCAA?
A2: 1932
Q3: How many college football bowl championships have the Tennessee Volunteers won?
A3: 25
Q4: How many national titles has the Tennessee Volunteers women's basketball team claimed?
A4: 8
Q5: What is the farthest the Tennessee Volunteers have progressed in the NCAA men's basketball tournament?
A5: Elite Eight
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music.

Q1: What is post-punk?
A1: heterogeneous type of rock music
Q2: When did post-punk arrive on the scene?
A2: in the wake of the punk movement of the 1970s
Q3: What did post-punk artists use in their music?
A3: critical theory, cinema, performance art and modernist literature
Q4: What began to spring up around the post-punk music?
A4: independent record labels and fanzines
Q5: How did post-punk take on rock and roll?
A5: conceptual assault
Q6: When was the original punk movement?
A6: 1970s
Q7: What is a name for a type of rock music that is extremely varied in sound?
A7: Post-punk
Q8: What elements of punk rock did post-punk depart from?
A8: musical conventions and wider cultural affiliations
Q9: What subject matter does post-punk commonly mesh its musical sensibilities with?
A9: art and politics
Q10: What developed along with the music developments of post-punk?
A10: subcultures
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form".

Q1: Who coined the term post-punk?
A1: journalists in the late 1970s
Q2: What dis the new term, post-punk, cover?
A2: groups moving beyond punk's sonic template into disparate areas
Q3: What inspired early post-punk artists?
A3: punk's DIY ethic and energy
Q4: Why did post-punk fall out of love with punk?
A4: commercial formula, rock convention and self-parody
Q5: What did the new post-punk artists believe?
A5: "radical content demands radical form"
Q6: Who were the first to use the term "post-punk"?
A6: journalists
Q7: When was "post-punk" first used to start describing artists?
A7: late 1970s
Q8: What were many post-punk artists originally inspired by?
A8: punk's DIY ethic and energy
Q9: How many chords did standard punk songs typically use?
A9: three
Q10: What did post-punk artists feel there was an imperative to constantly do?
A10: change
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".

Q1: What were the things that post-punk really got into?
A1: experimentation with production techniques
Q2: What are non-rock styles that post-punk used as inspiration?
A2: dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde
Q3: What aesthetic did Matthew Bannister associate with post-punk?
A3: avant-garde
Q4: What music did post-punk end to reject?
A4: high cultural references of 1960s rock artists
Q5: As a movement, post-punk has been characterized by its conceptual assault on what conventions?
A5: rock
Q6: What does post-punk reject any of which are perceived as being traditionalist, hegemonic, or rockist?
A6: aesthetics
Q7: What is one of the foundational aspects post-punk is deeply favorable towards?
A7: experimentation
Q8: How did post-punk artists once again approach the studio?
A8: as an instrument
Q9: What references did post-punk artists specifically reject of the 1960s rock artists?
A9: high cultural
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement.

Q1: How did Nicholas Lezard describe post-punk?
A1: fusion of art and music
Q2: Which artists were influential in post-punk?
A2: Captain Beefheart and David Bowie
Q3: Which writers helped to influence the post-punk movement?
A3: William S. Burroughs and J.G. Ballard
Q4: What was an intellectual focus of post-punk?
A4: postmodernism
Q5: How did the post-punk movement feel about big business?
A5: anti-corporatist
Q6: What was Nicholas Lezard's description of post-punk?
A6: "a fusion of art and music"
Q7: Where did post-punk ram its appropriation of ideas into?
A7: musical and pop cultural contexts
Q8: What tradition could be found in works by Captain Beefheart and David Bowie?
A8: art school
Q9: What intellectual movement informed and influenced a variety of post-punk artists?
A9: postmodernism
Q10: Why did many post-punk artists produce and release their own music?
A10: anti-corporatist
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".

Q1: Who described post-punk as "a more adventurous and arty form of punk"?
A1: Stephen Thomas Erlewine
Q2: Who described post-punk as  "less a genre of music than a space of possibility"?
A2: Simon Reynolds
Q3: Who said "so multifarious that only the broadest use of the term is possible" with regards to post-punk?
A3: Nicholas Lezard
Q4: Who does music critic Stephen Thomas Erlewine work for?
A4: AllMusic
Q5: What as the blanket term "post-punk" been the target of?
A5: controversy
Q6: What organization is Stephen Thomas Erlewine associated with?
A6: AllMusic
Q7: What have some people suggested post-punk doesn't have, instead being more about approaches and sensibilities?
A7: unifying style
Q8: Why type of scholar is music journalist Simon Reynolds?
A8: post-punk
Q9: Why is only the broadest use of genre possible when trying to categorize what actually defines post-punk?
A9: multifarious
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.

Q1: What is post-punk?
A1: music that emerged from the cultural milieu of punk rock in the late 1970s
Q2: What else was music incorrectly catagorized into before post-punk?
A2: new wave music
Q3: Why is the term post-punk sometimes disputed?
A3: various groups commonly labeled post-punk in fact predate the punk rock movement
Q4: What is the acctepted era of post-punk?
A4: between 1978 and 1984
Q5: What previous movement is post-punk often identified as coming after?
A5: punk rock
Q6: What were many groups now labeled as post-punk initially categorized as?
A6: punk or new wave music
Q7: Why has the prefix 'post' caused a bit of dispute as it relates to various post-punk groups?
A7: predate the punk rock movement
Q8: Who has defined a period of when the post-punk era was?
A8: Reynolds
Q9: Between what years did Reynolds identify the post-punk era as existing?
A9: 1978 and 1984
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.

Q1: WHich independent music company was founded by Geoff Travis?
A1: Rough Trade
Q2: Who founded Factory?
A2: Tony Wilson
Q3: When did releasing music indepentently really hit popularity?
A3: 1977
Q4: Who released Spiral Scratch on their own label?
A4: Buzzcocks
Q5: When did the indoe music scene begin to grow?
A5: mid-1980s
Q6: What did many entrepreneurs interested in their local punk-influenced music scenes found?
A6: independent record labels
Q7: Who founded the record label Rough Trade?
A7: Geoff Travis
Q8: Where was Tony Wilson's Factory based?
A8: Manchester
Q9: When did some groups start looking for methods to release their music themselves?
A9: 1977
Q10: Whose label did the Buzzcocks release their Spiral Scratch EP on?
A10: their own