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: What references did post-punk artists specifically reject of the 1960s rock artists?
Answer: high cultural
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: Who has defined a period of when the post-punk era was?
Answer: Reynolds
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 tradition could be found in works by Captain Beefheart and David Bowie?
Answer: art school
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: Between what years did Reynolds identify the post-punk era as existing?
Answer: 1978 and 1984
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 intellectual movement informed and influenced a variety of post-punk artists?
Answer: postmodernism

Question: Why did many post-punk artists produce and release their own music?
Answer: anti-corporatist
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: How many inmates has Tennessee executed since 2000?
Answer: six
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 is one of the foundational aspects post-punk is deeply favorable towards?
Answer: experimentation
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: How many death row inmates were awaiting executing in Tennessee in April 2015?
Answer: 73
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: In which year did the University of Tennessee begin competing in the Southeastern Conference of the NCAA?
Answer: 1932
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: How many prisoners did Tennessee execute between 1916 and 1960?
Answer: 125
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 college football bowl championships have the Tennessee Volunteers won?
Answer: 25
Tennessee

Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville.

Question: I-24 connects which two Tennessee cities?
Answer: Chattanooga to Clarksville
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: In which year was electrocution introduced as Tennessee's method of execution?
Answer: 1916
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 farthest the Tennessee Volunteers have progressed in the NCAA men's basketball tournament?
Answer: Elite Eight
Tennessee

Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville.

Question: Which interstate highway running north-south passes through Memphis?
Answer: Interstate 55

Question: Which interstate ends at a junction close to Dandridge, Tennessee?
Answer: Interstate 81

Question: Which city is the endpoint of I-26?
Answer: Kingsport

Question: What Tennessee cities are connected by I-269?
Answer: Millington to Collierville
Post-punk

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

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

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

Question: Who were well known authors covering the post-punk era?
Answer: Jon Savage, Paul Morley and Ian Penman
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 music did post-punk end to reject?
Answer: high cultural references of 1960s rock artists
Post-punk

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

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

Question: Who founded Factory?
Answer: Tony Wilson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Question: What was a common theme to post-punk music?
Answer: political or aesthetic agendas
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: How did post-punk artists once again approach the studio?
Answer: as an instrument
Post-punk

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

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