yz2022/T2P-DownstreamNLP huggingface dataset:
Post-punk

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".

Question: As a movement, post-punk has been characterized by its conceptual assault on what conventions?
Answer: rock
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 said "so multifarious that only the broadest use of the term is possible" with regards to post-punk?
Answer: Nicholas Lezard
Post-punk

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.

Question: Which artists were influential in post-punk?
Answer: Captain Beefheart and David Bowie
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: Why type of scholar is music journalist Simon Reynolds?
Answer: post-punk
Post-punk

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.

Question: How did Nicholas Lezard describe post-punk?
Answer: fusion of art and music
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  "less a genre of music than a space of possibility"?
Answer: Simon Reynolds
Tennessee

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.

Question: Which Republican won the Presidency while carrying Tennessee in 1928?
Answer: Herbert Hoover
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: Why is only the broadest use of genre possible when trying to categorize what actually defines post-punk?
Answer: multifarious

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

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.

Question: Which writers helped to influence the post-punk movement?
Answer: William S. Burroughs and J.G. Ballard
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
Post-punk

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.

Question: What was an intellectual focus of post-punk?
Answer: postmodernism
Post-punk

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".

Question: What are non-rock styles that post-punk used as inspiration?
Answer: dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde
Tennessee

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).

Question: What method did Tennessee use for capital punishment before 1913?
Answer: hanging
Tennessee

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.

Question: What is the nickname of the University of Tennessee, Knoxville athletic teams?
Answer: Volunteers
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 else was music incorrectly catagorized into before post-punk?
Answer: new wave music
Post-punk

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".

Question: What aesthetic did Matthew Bannister associate with post-punk?
Answer: avant-garde
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: Why is the term post-punk sometimes disputed?
Answer: various groups commonly labeled post-punk in fact predate the punk rock movement
Post-punk

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.

Question: How did the post-punk movement feel about big business?
Answer: anti-corporatist
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 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
Post-punk

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".

Question: What does post-punk reject any of which are perceived as being traditionalist, hegemonic, or rockist?
Answer: aesthetics
Tennessee

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.

Question: How many national titles has the Tennessee Volunteers women's basketball team claimed?
Answer: 8
Post-punk

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.

Question: What was Nicholas Lezard's description of post-punk?
Answer: "a fusion of art and music"

Question: Where did post-punk ram its appropriation of ideas into?
Answer: musical and pop cultural contexts