romikgosai/squad_modified_2 huggingface dataset:
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.

Q1: When did writers for Sounds first mention "post punk"?
A1: late 1977
Q2: What did Wire do with sounds, lyrics and aesthetics which different a lot from their peers?
A2: experimenting
Q3: What career path did Jon Savage take in life?
A3: Writer
Q4: When did the Sex Pistols break up?
A4: January 1978
Q5: Who was Siouxsie backed by?
A5: the Banshees
Q6: What are examples of British bands termed post-punk?
A6: Siouxsie and the Banshees and Wire
Q7: Who connsidered post-punk "harsh urban scrapings [,] controlled white noise" and "massively accented drumming"?
A7: Jon Savage
Q8: Which band's lead singer was Johnny Rotten?
A8: Sex Pistols
Q9: What was Johnny Rotten's real name?
A9: John Lydon
Q10: When did the Sex Pistols break up?
A10: 1978
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.

Q1: When the punk movement started shrinking, what began to fill the void left by their demise?
A1: vibrant new scenes
Q2: What territory did the post-punk bands pursue in their works?
A2: wider conceptual
Q3: What nationality's music magazines had an influential part of post-punk culture?
A3: British
Q4: What professional is Ian Penman known from?
A4: writers
Q5: What kind of background did many of the initial post-punk artists have?
A5: art
Q6: Who were well known authors covering the post-punk era?
A6: Jon Savage, Paul Morley and Ian Penman
Q7: What were popular post-punk culture media sources?
A7: NME and Sounds
Q8: What were the bands coming in on the heels of post-punk beginning to sound like?
A8: experimental sounds and wider conceptual territory
Q9: What was a common background of post-punk musicians?
A9: backgrounds in art
Q10: What was a common theme to post-punk music?
A10: political or aesthetic agendas
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.

Q1: Who was responsible for disbanding the Sex Pistols?
A1: Lydon
Q2: What group declared itself to be anti-music of any kind?
A2: Public Image Ltd
Q3: Where did Joy Division hail from?
A3: Manchester
Q4: What type of literature contributed to Joy Division's unique style?
A4: modernist
Q5: What end of the political spectrum was the political philosophy of Gang of Four?
A5: Leftist
Q6: What band did Johnny Rotten form after the Sex Pistols?
A6: Public Image Ltd
Q7: What kind of group was Public Image Ltd?
A7: "anti music of any kind"
Q8: Which bands combined way left politics with art school studies?
A8: Scritti Politti, Gang of Four and This Heat
Q9: What are some British post-punk bands from Manchester?
A9: Joy Division, The Fall and A Certain Ratio
Q10: Which post-punk bands began to branch off into things like dub and dance music?
A10: Pop Group and the Slits
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.

Q1: What type of producer was Martin Hannett?
A1: post-punk
Q2: What type of production techniques did Dennis Bovell develop?
A2: innovative
Q3: What took a central roll for the emerging post-punk music?
A3: studio experimentation
Q4: What eventually resulted in the pioneering of industrial music?
A4: crude production techniques
Q5: Whose independent label became a hub for the industrial scene?
A5: Throbbing Gristle's
Q6: Who were producers that led the way with emerging the post-punk culture?
A6: Martin Hannett and Dennis Bovell
Q7: What was the name of Throbbing Gristle's record label?
A7: Industrial Records
Q8: Which bands were on the forefront of industrial music?
A8: Cabaret Voltaire and Throbbing Gristle
Q9: Where did industrial music get it's name?
A9: Industrial Records
Q10: What was one of the most important ways that post-punk artists created their new sound?
A10: studio experimentation
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.

Q1: What nationality began birthing groups who expanded the vocabulary of punk music?
A1: American
Q2: From what region did the group Devo originate?
A2: Midwestern
Q3: Where was the band Talking Heads based out of?
A3: New York
Q4: Who did the Talking Heads begin a series of collaborations with in 1978?
A4: Brian Eno
Q5: What region's post-punk scene incorporated ideas from Theater of Cruelty?
A5: San Francisco's
Q6: When did the American groups begin to really get in on the post-punk movement?
A6: mid 1970s
Q7: Which American bands had ties to the Manchester punk scene?
A7: Television and Suicide
Q8: What were some Midwestern punk bands?
A8: Pere Ubu and Devo
Q9: What did Pere and Devo draw inspiration for their music from?
A9: derelict industrial environments
Q10: What were groups in San Francisco's post-punk scene?
A10: Chrome, the Residents and Tuxedomoon
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.

Q1: What type of worldview did New York's no wave movement tend to have?
A1: nihilistic
Q2: The Contortions, Teenage Jesus and the Jerks were all musicians part of what movement?
A2: No wave
Q3: Who produced the compilation "No New York"?
A3: Eno
Q4: What no wave-affiliated label was founded in 1978?
A4: ZE Records
Q5: In addition to non-rock styles, what did some of the no-wave groups experiment with sonically?
A5: noise, dissonance and atonality
Q6: What was no wave?
A6: a short-lived art and music scene that began in part as a reaction against punk's recycling of traditionalist rock tropes
Q7: What type of a view did no wave have?
A7: an abrasive, confrontational and nihilistic
Q8: What types of musicians were the Contortions, Teenage Jesus and the Jerks, Mars, DNA, Theoretical Girls and Rhys Chatham?
A8: No wave
Q9: When was ZE Records founded?
A9: 1978
Q10: What was considered the true portrait of the no wave movement?
A10: No New York
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.

Q1: How did critics respond to British post-punk groups in the 1980s?
A1: support
Q2: What nationality was the critic who positively characterized Britain's postpunk scene in an 1980 Rolling Stone article?
A2: American
Q3: What about the sense of paradox in postpunk different in relation to the pop music of the day?
A3: unique
Q4: What corporation was John Peel a DJ for?
A4: BBC
Q5: What were Fast, Mute, and Glass in the context of post-punk music?
A5: record labels
Q6: When did British post-punk emerge?
A6: 1980s
Q7: Who said that British post-punk was "sparked by a tension, humour and sense of paradox plainly unique in present day pop music"?
A7: Greil Marcus
Q8: What British post-punk bands had success in the popular charts?
A8: PiL and Joy Division
Q9: Which record labels really supported the British post-punk movement?
A9: Industrial, Fast, E.G., Mute, Axis/4AD and Glass
Q10: What popular DJ supported the emergence of British post-punk?
A10: 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.

Q1: What did the magazines catering to post-punk interest do to alienate their readers?
A1: increasingly esoteric writing
Q2: Many of the big players in the post-punk scene began leaning away from what as time progressed?
A2: underground aesthetics
Q3: What writer advocated "overground brightness"?
A3: Paul Morley
Q4: Which magazine tied to the post-punk movement lost half of its circulation?
A4: NME
Q5: What did the club-oriented scene emphasize instead of the experimental seriousness of earlier post-punk groups?
A5: glamour, fashion, and escapism
Q6: What did authors and artists begin advocating for instead of the underground scene?
A6: overground brightness
Q7: What began to alienate the readers from publications such as NME?
A7: increasingly esoteric writing
Q8: Who did Paul Morley collaborate with on the Art of Noise?
A8: engineer Gary Langan and programmer J. J. Jeczalik
Q9: What did the Art of Noise hope to accomplish?
A9: attempt to bring sampled and electronic sounds to the pop mainstream
Q10: Which new cultural movement began to emphasize glam, escapism and fashion?
A10: 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.

Q1: What style of music was Gary Numan associated with?
A1: synthpop
Q2: What did the synthpop style of music benefit from the gaining popularity of?
A2: MTV
Q3: Synthpop heavily borrowed elements from what type of music?
A3: electronic and synthesizer music
Q4: What type of ideas did post-punk artists attempt to sneak into mainstream pop?
A4: subversive
Q5: What did some post-punk artists reject their previous avant-garde practices to pursue?
A5: commercial success
Q6: What new music style focused on electronic and synthesized sounds?
A6: synthpop
Q7: What really helped to launch synthpop?
A7: MTV
Q8: What else began to emerge as post-punk groups moved to a more commercial focus?
A8: pop
Q9: How did pos-punk give rise to pop?
A9: 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.

Q1: When did Manhattan's no wave scene start becoming more dance-oriented?
A1: early 1980s
Q2: What formula did a lot of the artists emerging from the scene adhere to?
A2: "anything at all + disco bottom"
Q3: What type of party could be found at venues like Club 57?
A3: decadent
Q4: Who did the venues because cultural hubs for?
A4: musicians and visual artists alike
Q5: What movement was the group the Lounge Lizards indebted to?
A5: no wave
Q6: What did Downtown Manhattan's no wave scene transition into?
A6: dance-oriented sound
Q7: What type of sound did no wave have before it began to transition to a more dance oriented sound?
A7: abrasive
Q8: When was ZE's Mutant Disco released?
A8: 1981
Q9: What clubs were frequented by artists in the emerging dance scene?
A9: 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]

Q1: Where did some groups develop a unique style of industrial music?
A1: Germany
Q2: What type of music included noise, homemade instruments, and randomly found objects?
A2: industrial
Q3: What country had a post-punk scene after a generation of rock?
A3: Brazil
Q4: What type of album was The Sexual Life of the Savages?
A4: compilations
Q5: What countries other than Brazil was Brazil's no wave music exported to?
A5: UK, Germany
Q6: What type of music was associated with Einstürzende Neubauten?
A6: industrial
Q7: Where was Einstürzende Neubauten from?
A7: Germany
Q8: How did Einstürzende Neubauten come up with their new industrial sound?
A8: avant-garde noise, homemade instruments and found objects
Q9: Who did members of Einstürzende Neubauten also collaborate with?
A9: the Birthday Party
Q10: Where was Madame Satã?
A10: 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.

Q1: What type of music did many of the post-punk bands start indulging in?
A1: pop
Q2: How did bands associated with the original post-punk movement cause it to end?
A2: turned away from its aesthetics
Q3: What venue drove a lot of the awareness of the music from the now pop post-punk bands?
A3: MTV
Q4: Where was a lot of the post-punk pop bands played in addition to MTV?
A4: American college radio
Q5: What band combined religious imagery with political commentary into their music?
A5: U2
Q6: What was the death knell of the post-punk movement?
A6: commercial sounds
Q7: What else would the post-punk bands record under?
A7: pop
Q8: Who was the most successful band to arrise from post-punk?
A8: U2
Q9: What was one of the most popular concepts of the pop movement?
A9: entryism
Q10: What was a driving force behind the revival of the second British Invasion of New Music to America?
A10: 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".

Q1: How did most critical writing treat the post-punk era, until recently?
A1: dismissed
Q2: What do contemporary scholars feel the post-punk period contributed in hindsight?
A2: significant innovations and music
Q3: What did Simon Reynolds describe the era of post-punk as a match for in terms of great music created?
A3: the sixties
Q4: Who wrote that the music of the post-punk era was avant-garde?
A4: Nicholas Lezard
Q5: What were the post-punk era artists more interested in doing to their audiences than in entertaining them with pop songs?
A5: disturbing
Q6: What era was usually dismissed as merely an awkward phase of music?
A6: post-punk
Q7: What do comtemporary scholars think that post-punk actually did for music?
A7: produced significant innovations and music on its own
Q8: Which critic said that the post-punk period was open to any possibilities as far as music went?
A8: Nicholas Lezard
Q9: Who said that the post-punk movement rivaled the Sixties in the shear amount of great music produced?
A9: Simon Reynolds
Q10: What did Nicholas Leonard say united post-punk?
A10: 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.

Q1: What musical styles did post-punk help merge?
A1: white and black musical styles
Q2: What beginnings rose from the dead ashes of post-punk?
A2: various subsequent genres
Q3: New wave, industrial music, synthpop and house all share roots in what genre?
A3: post-punk
Q4: What style of music did post-punk band the Cure play in?
A4: darker, more morose
Q5: What genre of music did Joy Division help in the development of?
A5: gothic rock
Q6: Which type of eclectic music had a huge variety, large innovations and an "anything goes" mentality?
A6: Post-punk
Q7: Which darker post-punk bands gave rise to gothic rock?
A7: Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure
Q8: Where did systhpop, industrial and neo-psychedelia music derive from?
A8: Post-punk
Q9: What type of music was gothic rock?
A9: darker, more morose style
Q10: What styles of music did post-punk pave the way for?
A10: new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music