id stringlengths 24 24 | title stringclasses 442
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|---|---|---|---|---|
572f7a7704bcaa1900d769df | Post-punk | 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. | Which new cultural movement began to emphasize glam, escapism and fashion? | {
"answer_start": [
868
],
"text": [
"New Romantic"
]
} |
572ec73bdfa6aa1500f8d395 | Post-punk | 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. | What style of music was Gary Numan associated with? | {
"answer_start": [
99
],
"text": [
"synthpop"
]
} |
572ec73bdfa6aa1500f8d396 | Post-punk | 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. | What did the synthpop style of music benefit from the gaining popularity of? | {
"answer_start": [
206
],
"text": [
"MTV"
]
} |
572ec73bdfa6aa1500f8d397 | Post-punk | 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. | Synthpop heavily borrowed elements from what type of music? | {
"answer_start": [
142
],
"text": [
"electronic and synthesizer music"
]
} |
572ec73bdfa6aa1500f8d398 | Post-punk | 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. | What type of ideas did post-punk artists attempt to sneak into mainstream pop? | {
"answer_start": [
498
],
"text": [
"subversive"
]
} |
572ec73bdfa6aa1500f8d399 | Post-punk | 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. | What did some post-punk artists reject their previous avant-garde practices to pursue? | {
"answer_start": [
408
],
"text": [
"commercial success"
]
} |
572f7b4104bcaa1900d769ef | Post-punk | 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. | What new music style focused on electronic and synthesized sounds? | {
"answer_start": [
99
],
"text": [
"synthpop"
]
} |
572f7b4104bcaa1900d769f0 | Post-punk | 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. | What really helped to launch synthpop? | {
"answer_start": [
206
],
"text": [
"MTV"
]
} |
572f7b4104bcaa1900d769f1 | Post-punk | 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. | What else began to emerge as post-punk groups moved to a more commercial focus? | {
"answer_start": [
593
],
"text": [
"pop"
]
} |
572f7b4104bcaa1900d769f2 | Post-punk | 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. | How did pos-punk give rise to pop? | {
"answer_start": [
461
],
"text": [
"post-punk artists attempted to bring subversive ideas into the pop mainstream"
]
} |
572ec84603f9891900756a11 | Post-punk | 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. | When did Manhattan's no wave scene start becoming more dance-oriented? | {
"answer_start": [
7
],
"text": [
"early 1980s"
]
} |
572ec84603f9891900756a12 | Post-punk | 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. | What formula did a lot of the artists emerging from the scene adhere to? | {
"answer_start": [
501
],
"text": [
"\"anything at all + disco bottom\""
]
} |
572ec84603f9891900756a13 | Post-punk | 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. | What type of party could be found at venues like Club 57? | {
"answer_start": [
539
],
"text": [
"decadent"
]
} |
572ec84603f9891900756a14 | Post-punk | 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. | Who did the venues because cultural hubs for? | {
"answer_start": [
647
],
"text": [
"musicians and visual artists alike"
]
} |
572ec84603f9891900756a15 | Post-punk | 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. | What movement was the group the Lounge Lizards indebted to? | {
"answer_start": [
787
],
"text": [
"no wave"
]
} |
572f7cef04bcaa1900d76a0b | Post-punk | 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. | What did Downtown Manhattan's no wave scene transition into? | {
"answer_start": [
106
],
"text": [
"dance-oriented sound"
]
} |
572f7cef04bcaa1900d76a0c | Post-punk | 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. | What type of sound did no wave have before it began to transition to a more dance oriented sound? | {
"answer_start": [
77
],
"text": [
"abrasive"
]
} |
572f7cef04bcaa1900d76a0d | Post-punk | 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. | When was ZE's Mutant Disco released? | {
"answer_start": [
173
],
"text": [
"1981"
]
} |
572f7cef04bcaa1900d76a0e | Post-punk | 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. | What clubs were frequented by artists in the emerging dance scene? | {
"answer_start": [
596
],
"text": [
"Club 57 and the Mudd Club"
]
} |
572edc2edfa6aa1500f8d475 | Post-punk | 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] | Where did some groups develop a unique style of industrial music? | {
"answer_start": [
3
],
"text": [
"Germany"
]
} |
572edc2edfa6aa1500f8d476 | Post-punk | 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] | What type of music included noise, homemade instruments, and randomly found objects? | {
"answer_start": [
78
],
"text": [
"industrial"
]
} |
572edc2edfa6aa1500f8d477 | Post-punk | 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] | What country had a post-punk scene after a generation of rock? | {
"answer_start": [
259
],
"text": [
"Brazil"
]
} |
572edc2edfa6aa1500f8d478 | Post-punk | 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] | What type of album was The Sexual Life of the Savages? | {
"answer_start": [
547
],
"text": [
"compilations"
]
} |
572edc2edfa6aa1500f8d479 | Post-punk | 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] | What countries other than Brazil was Brazil's no wave music exported to? | {
"answer_start": [
651
],
"text": [
"UK, Germany"
]
} |
572f7dba947a6a140053c9be | Post-punk | 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] | What type of music was associated with Einstürzende Neubauten? | {
"answer_start": [
78
],
"text": [
"industrial"
]
} |
572f7dba947a6a140053c9bf | Post-punk | 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] | Where was Einstürzende Neubauten from? | {
"answer_start": [
3
],
"text": [
"Germany"
]
} |
572f7dba947a6a140053c9c1 | Post-punk | 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] | How did Einstürzende Neubauten come up with their new industrial sound? | {
"answer_start": [
106
],
"text": [
"avant-garde noise, homemade instruments and found objects"
]
} |
572f7dba947a6a140053c9c2 | Post-punk | 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] | Who did members of Einstürzende Neubauten also collaborate with? | {
"answer_start": [
236
],
"text": [
"the Birthday Party"
]
} |
572f7dba947a6a140053c9c0 | Post-punk | 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] | Where was Madame Satã? | {
"answer_start": [
259
],
"text": [
"Brazil"
]
} |
572ee1b1c246551400ce4763 | Post-punk | 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. | What type of music did many of the post-punk bands start indulging in? | {
"answer_start": [
220
],
"text": [
"pop"
]
} |
572ee1b1c246551400ce4762 | Post-punk | 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. | How did bands associated with the original post-punk movement cause it to end? | {
"answer_start": [
80
],
"text": [
"turned away from its aesthetics"
]
} |
572ee1b1c246551400ce4764 | Post-punk | 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. | What venue drove a lot of the awareness of the music from the now pop post-punk bands? | {
"answer_start": [
308
],
"text": [
"MTV"
]
} |
572ee1b1c246551400ce4765 | Post-punk | 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. | Where was a lot of the post-punk pop bands played in addition to MTV? | {
"answer_start": [
562
],
"text": [
"American college radio"
]
} |
572ee1b1c246551400ce4766 | Post-punk | 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. | What band combined religious imagery with political commentary into their music? | {
"answer_start": [
694
],
"text": [
"U2"
]
} |
572f7ebda23a5019007fc68f | Post-punk | 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. | What was the death knell of the post-punk movement? | {
"answer_start": [
136
],
"text": [
"commercial sounds"
]
} |
572f7ebda23a5019007fc690 | Post-punk | 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. | What else would the post-punk bands record under? | {
"answer_start": [
220
],
"text": [
"pop"
]
} |
572f7ebda23a5019007fc693 | Post-punk | 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. | Who was the most successful band to arrise from post-punk? | {
"answer_start": [
694
],
"text": [
"U2"
]
} |
572f7ebda23a5019007fc691 | Post-punk | 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. | What was one of the most popular concepts of the pop movement? | {
"answer_start": [
239
],
"text": [
"entryism"
]
} |
572f7ebda23a5019007fc692 | Post-punk | 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. | What was a driving force behind the revival of the second British Invasion of New Music to America? | {
"answer_start": [
308
],
"text": [
"MTV and modern rock radio stations"
]
} |
572ee666dfa6aa1500f8d4a3 | Post-punk | 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". | How did most critical writing treat the post-punk era, until recently? | {
"answer_start": [
70
],
"text": [
"dismissed"
]
} |
572ee666dfa6aa1500f8d4a4 | Post-punk | 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". | What do contemporary scholars feel the post-punk period contributed in hindsight? | {
"answer_start": [
267
],
"text": [
"significant innovations and music"
]
} |
572ee666dfa6aa1500f8d4a5 | Post-punk | 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". | What did Simon Reynolds describe the era of post-punk as a match for in terms of great music created? | {
"answer_start": [
370
],
"text": [
"the sixties"
]
} |
572ee666dfa6aa1500f8d4a6 | Post-punk | 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". | Who wrote that the music of the post-punk era was avant-garde? | {
"answer_start": [
598
],
"text": [
"Nicholas Lezard"
]
} |
572ee666dfa6aa1500f8d4a7 | Post-punk | 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". | What were the post-punk era artists more interested in doing to their audiences than in entertaining them with pop songs? | {
"answer_start": [
848
],
"text": [
"disturbing"
]
} |
572f80b8947a6a140053c9d2 | Post-punk | 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". | What era was usually dismissed as merely an awkward phase of music? | {
"answer_start": [
45
],
"text": [
"post-punk"
]
} |
572f80b8947a6a140053c9d3 | Post-punk | 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". | What do comtemporary scholars think that post-punk actually did for music? | {
"answer_start": [
258
],
"text": [
"produced significant innovations and music on its own"
]
} |
572f80b8947a6a140053c9d5 | Post-punk | 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". | Which critic said that the post-punk period was open to any possibilities as far as music went? | {
"answer_start": [
598
],
"text": [
"Nicholas Lezard"
]
} |
572f80b8947a6a140053c9d4 | Post-punk | 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". | Who said that the post-punk movement rivaled the Sixties in the shear amount of great music produced? | {
"answer_start": [
313
],
"text": [
"Simon Reynolds"
]
} |
572f80b8947a6a140053c9d6 | Post-punk | 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". | What did Nicholas Leonard say united post-punk? | {
"answer_start": [
776
],
"text": [
"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"
]
} |
572ee720c246551400ce4792 | Post-punk | 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. | What musical styles did post-punk help merge? | {
"answer_start": [
105
],
"text": [
"white and black musical styles"
]
} |
572ee720c246551400ce4793 | Post-punk | 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. | What beginnings rose from the dead ashes of post-punk? | {
"answer_start": [
188
],
"text": [
"various subsequent genres"
]
} |
572ee720c246551400ce4794 | Post-punk | 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. | New wave, industrial music, synthpop and house all share roots in what genre? | {
"answer_start": [
148
],
"text": [
"post-punk"
]
} |
572ee720c246551400ce4795 | Post-punk | 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. | What style of music did post-punk band the Cure play in? | {
"answer_start": [
437
],
"text": [
"darker, more morose"
]
} |
572ee720c246551400ce4796 | Post-punk | 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. | What genre of music did Joy Division help in the development of? | {
"answer_start": [
512
],
"text": [
"gothic rock"
]
} |
572f81ad947a6a140053c9dc | Post-punk | 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. | Which type of eclectic music had a huge variety, large innovations and an "anything goes" mentality? | {
"answer_start": [
0
],
"text": [
"Post-punk"
]
} |
572f81ad947a6a140053c9dd | Post-punk | 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. | Which darker post-punk bands gave rise to gothic rock? | {
"answer_start": [
363
],
"text": [
"Joy Division, Siouxsie and the Banshees, Bauhaus and the Cure"
]
} |
572f81ad947a6a140053c9de | Post-punk | 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. | Where did systhpop, industrial and neo-psychedelia music derive from? | {
"answer_start": [
0
],
"text": [
"Post-punk"
]
} |
572f81ad947a6a140053c9df | Post-punk | 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. | What type of music was gothic rock? | {
"answer_start": [
437
],
"text": [
"darker, more morose style"
]
} |
572f81ad947a6a140053c9e0 | Post-punk | 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. | What styles of music did post-punk pave the way for? | {
"answer_start": [
225
],
"text": [
"new wave, dance-rock, New Pop, industrial music, synthpop, post-hardcore, neo-psychedelia alternative rock and house music"
]
} |
572ee844c246551400ce479c | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | When did a post-punk revival start happening in England and the Colonies? | {
"answer_start": [
7
],
"text": [
"turn of the 21st century"
]
} |
572ee844c246551400ce479d | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | What early sign heralded the post-punk revival? | {
"answer_start": [
212
],
"text": [
"emergence of various underground bands"
]
} |
572ee844c246551400ce479e | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | When did some of the darker post-punk bands start to appear in the indie scene? | {
"answer_start": [
603
],
"text": [
"the 2010s"
]
} |
572ee844c246551400ce479f | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | The post-punk revival bands bring in a fanbase from what subculture? | {
"answer_start": [
907
],
"text": [
"indie music"
]
} |
572ee844c246551400ce47a0 | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | What band played music similar to that of the early British post-punk bands of the late '70s as recently as 2010? | {
"answer_start": [
999
],
"text": [
"Savages"
]
} |
572f82cc947a6a140053c9e6 | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | When was the post-punk revival in British and American cultures? | {
"answer_start": [
7
],
"text": [
"turn of the 21st century"
]
} |
572f82cc947a6a140053c9e8 | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | Who were the most commercially successful bands of the post-punk revival? | {
"answer_start": [
319
],
"text": [
"the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors"
]
} |
572f82cc947a6a140053c9e9 | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | When did the commercially successful post-punk bands begin to hit the scene? | {
"answer_start": [
404
],
"text": [
"late 1990s to early 2000s"
]
} |
572f82cc947a6a140053c9e7 | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | What was the earliest sign of the post-punk revival? | {
"answer_start": [
212
],
"text": [
"emergence of various underground bands in the mid-'90s"
]
} |
572f82cc947a6a140053c9ea | Post-punk | At the turn of the 21st century, a post-punk revival developed in British and American alternative and indie rock, which soon started appearing in other countries, as well. The earliest sign of a revival was the emergence of various underground bands in the mid-'90s. However, the first commercially successful bands – the Strokes, Franz Ferdinand, Interpol, Neils Children and Editors – surfaced in the late 1990s to early 2000s, as did several dance-oriented bands such as the Rapture, Radio 4 and LCD Soundsystem. Additionally, some darker post-punk bands began to appear in the indie music scene in the 2010s, including Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum, who were also affiliated with the darkwave revival, as well as A Place to Bury Strangers, who combined early post-punk and shoegaze. These bands tend to draw a fanbase who are a combination of the indie music subculture, older post-punk fans and the current goth subculture. In the 2010s, Savages played a music reminiscent of early British post-punk bands of the late '70s. | Which dark post-punk bands began to emmerge in the indie scene? | {
"answer_start": [
624
],
"text": [
"Cold Cave, She Wants Revenge, Eagulls, the Soft Moon, She Past Away and Light Asylum"
]
} |
572e7aa8dfa6aa1500f8d00d | Canadian_football | In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.) | Which North American version of football calls for 12 player per side on the field? | {
"answer_start": [
44
],
"text": [
"Canadian"
]
} |
572e7aa8dfa6aa1500f8d00e | Canadian_football | In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.) | How many yards wider is a Canadian football field than an American football field? | {
"answer_start": [
353
],
"text": [
"10"
]
} |
572e7aa8dfa6aa1500f8d00f | Canadian_football | In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.) | Which version of North American football has smaller end zones? | {
"answer_start": [
66
],
"text": [
"American"
]
} |
572e7aa8dfa6aa1500f8d010 | Canadian_football | In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.) | How many downs does a team have to advance ten yards in Canadian football? | {
"answer_start": [
464
],
"text": [
"three"
]
} |
572e7aa8dfa6aa1500f8d011 | Canadian_football | In Canada, the term "football" may refer to Canadian football and American football collectively, or to either sport specifically, depending on context. The two sports have shared origins and are closely related but have significant differences. In particular, Canadian football has 12 players on the field per team rather than 11; the field is roughly 10 yards wider, and 10 yards longer between end-zones that are themselves 10 yards deeper; and a team has only three downs to gain 10 yards, which results in less offensive rushing than in the American game. In the Canadian game all players on the defending team, when a down begins, must be at least 1 yard from the line of scrimmage. (The American game has a similar "neutral zone" but it is only the length of the football.) | How far away from the line of scrimmage must Canadian football defenders be? | {
"answer_start": [
654
],
"text": [
"1 yard"
]
} |
572e7b91dfa6aa1500f8d017 | Canadian_football | Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame. | On which date was the Canadian Junior Football League formed? | {
"answer_start": [
147
],
"text": [
"May 8, 1974"
]
} |
572e7b91dfa6aa1500f8d018 | Canadian_football | Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame. | How old are the players in the Quebec Junior Football League? | {
"answer_start": [
223
],
"text": [
"18–22"
]
} |
572e7b91dfa6aa1500f8d019 | Canadian_football | Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame. | What trophy is awarded to the winner of Canadian inter-university football competition? | {
"answer_start": [
313
],
"text": [
"Vanier Cup"
]
} |
572e7b91dfa6aa1500f8d01a | Canadian_football | Canadian football is also played at the high school, junior, collegiate, and semi-professional levels: the Canadian Junior Football League, formed May 8, 1974, and Quebec Junior Football League are leagues for players aged 18–22, many post-secondary institutions compete in Canadian Interuniversity Sport for the Vanier Cup, and senior leagues such as the Alberta Football League have grown in popularity in recent years. Great achievements in Canadian football are enshrined in the Canadian Football Hall of Fame. | What institution memorializes great Canadian football achievements? | {
"answer_start": [
483
],
"text": [
"Canadian Football Hall of Fame"
]
} |
572e7c7303f989190075668f | Canadian_football | The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876. | On which date was the first Canadian football game for which a written record has survived? | {
"answer_start": [
50
],
"text": [
"October 15, 1862"
]
} |
572e7c7303f9891900756690 | Canadian_football | The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876. | Which team won the first recorded Canadian football game? | {
"answer_start": [
120
],
"text": [
"First Battalion Grenadier Guards"
]
} |
572e7c7303f9891900756692 | Canadian_football | The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876. | What is the oldest football club in Canada? | {
"answer_start": [
528
],
"text": [
"Hamilton Football Club"
]
} |
572e7c7303f9891900756693 | Canadian_football | The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876. | Which founder of Milton, MA also helped develop the rules of Canadian football? | {
"answer_start": [
376
],
"text": [
"Christopher Gwynn"
]
} |
572e7c7303f9891900756691 | Canadian_football | The first written account of a game played was on October 15, 1862, on the Montreal Cricket Grounds. It was between the First Battalion Grenadier Guards and the Second Battalion Scots Fusilier Guards resulting in a win by the Grenadier Guards 3 goals, 2 rouges to nothing.[citation needed] In 1864, at Trinity College, Toronto, F. Barlow Cumberland, Frederick A. Bethune, and Christopher Gwynn, one of the founders of Milton, Massachusetts, devised rules based on rugby football. The game gradually gained a following, with the Hamilton Football Club formed on November 3, 1869, (the oldest football club in Canada). Montreal formed a team April 8, 1872, Toronto was formed on October 4, 1873, and the Ottawa FBC on September 20, 1876. | What was the first final score recorded of a Canadian football game? | {
"answer_start": [
243
],
"text": [
"3 goals, 2 rouges to nothing"
]
} |
572e7db403f98919007566bf | Canadian_football | The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL. | On which date was the first governing body for Canadian football formed? | {
"answer_start": [
152
],
"text": [
"March 24, 1873"
]
} |
572e7db403f98919007566c0 | Canadian_football | The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL. | Which governing organization for Canadian football was formed on June 12, 1880? | {
"answer_start": [
183
],
"text": [
"Canadian Rugby Football Union"
]
} |
572e7db403f98919007566c1 | Canadian_football | The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL. | In which year was the Western Interprovincial Football Union founded? | {
"answer_start": [
468
],
"text": [
"1936"
]
} |
572e7db403f98919007566c2 | Canadian_football | The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL. | Which Canadian football union expanded its scope in 1891? | {
"answer_start": [
183
],
"text": [
"Canadian Rugby Football Union"
]
} |
572e7db403f98919007566c3 | Canadian_football | The first attempt to establish a proper governing body and adopted the current set of Rugby rules was the Foot Ball Association of Canada, organized on March 24, 1873 followed by the Canadian Rugby Football Union (CRFU) founded June 12, 1880, which included teams from Ontario and Quebec. Later both the Ontario and Quebec Rugby Football Union (ORFU and QRFU) were formed (January 1883), and then the Interprovincial (1907) and Western Interprovincial Football Union (1936) (IRFU and WIFU). The CRFU reorganized into an umbrella organization forming the Canadian Rugby Union (CRU) in 1891. The original forerunners to the current Canadian Football League, was established in 1956 when the IRFU and WIFU formed an umbrella organization, The Canadian Football Council (CFC). And then in 1958 the CFC left The CRFU to become The CFL. | Which organization founded in 1956 evolved into the modern Canadian Football League? | {
"answer_start": [
740
],
"text": [
"Canadian Football Council"
]
} |
572e7f4603f98919007566d3 | Canadian_football | The Burnside rules closely resembling American Football that were incorporated in 1903 by The ORFU, was an effort to distinguish it from a more rugby-oriented game. The Burnside Rules had teams reduced to 12 men per side, introduced the Snap-Back system, required the offensive team to gain 10 yards on three downs, eliminated the Throw-In from the sidelines, allowed only six men on the line, stated that all goals by kicking were to be worth two points and the opposition was to line up 10 yards from the defenders on all kicks. The rules were an attempt to standardize the rules throughout the country. The CIRFU, QRFU and CRU refused to adopt the new rules at first. Forward passes were not allowed in the Canadian game until 1929, and touchdowns, which had been five points, were increased to six points in 1956, in both cases several decades after the Americans had adopted the same changes. The primary differences between the Canadian and American games stem from rule changes that the American side of the border adopted but the Canadian side did not (originally, both sides had three downs, goal posts on the goal lines and unlimited forward motion, but the American side modified these rules and the Canadians did not). The Canadian field width was one rule that was not based on American rules, as the Canadian game played in wider fields and stadiums that were not as narrow as the American stadiums. | Which Canadian football rules did the ORFU adopt in 1903? | {
"answer_start": [
4
],
"text": [
"Burnside"
]
} |
572e7f4603f98919007566d4 | Canadian_football | The Burnside rules closely resembling American Football that were incorporated in 1903 by The ORFU, was an effort to distinguish it from a more rugby-oriented game. The Burnside Rules had teams reduced to 12 men per side, introduced the Snap-Back system, required the offensive team to gain 10 yards on three downs, eliminated the Throw-In from the sidelines, allowed only six men on the line, stated that all goals by kicking were to be worth two points and the opposition was to line up 10 yards from the defenders on all kicks. The rules were an attempt to standardize the rules throughout the country. The CIRFU, QRFU and CRU refused to adopt the new rules at first. Forward passes were not allowed in the Canadian game until 1929, and touchdowns, which had been five points, were increased to six points in 1956, in both cases several decades after the Americans had adopted the same changes. The primary differences between the Canadian and American games stem from rule changes that the American side of the border adopted but the Canadian side did not (originally, both sides had three downs, goal posts on the goal lines and unlimited forward motion, but the American side modified these rules and the Canadians did not). The Canadian field width was one rule that was not based on American rules, as the Canadian game played in wider fields and stadiums that were not as narrow as the American stadiums. | Which three Canadian football unions resisted the Burnside Rules? | {
"answer_start": [
610
],
"text": [
"CIRFU, QRFU and CRU"
]
} |
572e7f4603f98919007566d5 | Canadian_football | The Burnside rules closely resembling American Football that were incorporated in 1903 by The ORFU, was an effort to distinguish it from a more rugby-oriented game. The Burnside Rules had teams reduced to 12 men per side, introduced the Snap-Back system, required the offensive team to gain 10 yards on three downs, eliminated the Throw-In from the sidelines, allowed only six men on the line, stated that all goals by kicking were to be worth two points and the opposition was to line up 10 yards from the defenders on all kicks. The rules were an attempt to standardize the rules throughout the country. The CIRFU, QRFU and CRU refused to adopt the new rules at first. Forward passes were not allowed in the Canadian game until 1929, and touchdowns, which had been five points, were increased to six points in 1956, in both cases several decades after the Americans had adopted the same changes. The primary differences between the Canadian and American games stem from rule changes that the American side of the border adopted but the Canadian side did not (originally, both sides had three downs, goal posts on the goal lines and unlimited forward motion, but the American side modified these rules and the Canadians did not). The Canadian field width was one rule that was not based on American rules, as the Canadian game played in wider fields and stadiums that were not as narrow as the American stadiums. | In which year did forward passes become acceptable in Canadian football? | {
"answer_start": [
730
],
"text": [
"1929"
]
} |
572e7f4603f98919007566d6 | Canadian_football | The Burnside rules closely resembling American Football that were incorporated in 1903 by The ORFU, was an effort to distinguish it from a more rugby-oriented game. The Burnside Rules had teams reduced to 12 men per side, introduced the Snap-Back system, required the offensive team to gain 10 yards on three downs, eliminated the Throw-In from the sidelines, allowed only six men on the line, stated that all goals by kicking were to be worth two points and the opposition was to line up 10 yards from the defenders on all kicks. The rules were an attempt to standardize the rules throughout the country. The CIRFU, QRFU and CRU refused to adopt the new rules at first. Forward passes were not allowed in the Canadian game until 1929, and touchdowns, which had been five points, were increased to six points in 1956, in both cases several decades after the Americans had adopted the same changes. The primary differences between the Canadian and American games stem from rule changes that the American side of the border adopted but the Canadian side did not (originally, both sides had three downs, goal posts on the goal lines and unlimited forward motion, but the American side modified these rules and the Canadians did not). The Canadian field width was one rule that was not based on American rules, as the Canadian game played in wider fields and stadiums that were not as narrow as the American stadiums. | Which style of North American football changed the rules of their game the most from their earliest versions? | {
"answer_start": [
947
],
"text": [
"American"
]
} |
572e807dcb0c0d14000f11e8 | Canadian_football | The Grey Cup was established in 1909 after being donated by Albert Grey, 4th Earl Grey, The Governor General of Canada as the championship of teams under the CRU for the Rugby Football Championship of Canada. Initially an amateur competition, it eventually became dominated by professional teams in the 1940s and early 1950s. The Ontario Rugby Football Union, the last amateur organization to compete for the trophy, withdrew from competition in 1954. The move ushered in the modern era of Canadian professional football. | Who donated a championship trophy for Canadian football teams in 1909? | {
"answer_start": [
60
],
"text": [
"Albert Grey"
]
} |
572e807dcb0c0d14000f11e9 | Canadian_football | The Grey Cup was established in 1909 after being donated by Albert Grey, 4th Earl Grey, The Governor General of Canada as the championship of teams under the CRU for the Rugby Football Championship of Canada. Initially an amateur competition, it eventually became dominated by professional teams in the 1940s and early 1950s. The Ontario Rugby Football Union, the last amateur organization to compete for the trophy, withdrew from competition in 1954. The move ushered in the modern era of Canadian professional football. | When did professional teams begin to dominate the Canadian football championship? | {
"answer_start": [
303
],
"text": [
"1940s and early 1950s"
]
} |
572e807dcb0c0d14000f11ea | Canadian_football | The Grey Cup was established in 1909 after being donated by Albert Grey, 4th Earl Grey, The Governor General of Canada as the championship of teams under the CRU for the Rugby Football Championship of Canada. Initially an amateur competition, it eventually became dominated by professional teams in the 1940s and early 1950s. The Ontario Rugby Football Union, the last amateur organization to compete for the trophy, withdrew from competition in 1954. The move ushered in the modern era of Canadian professional football. | Which trophy was awarded to a Canadian football champion beginning in 1909? | {
"answer_start": [
4
],
"text": [
"Grey Cup"
]
} |
572e807dcb0c0d14000f11eb | Canadian_football | The Grey Cup was established in 1909 after being donated by Albert Grey, 4th Earl Grey, The Governor General of Canada as the championship of teams under the CRU for the Rugby Football Championship of Canada. Initially an amateur competition, it eventually became dominated by professional teams in the 1940s and early 1950s. The Ontario Rugby Football Union, the last amateur organization to compete for the trophy, withdrew from competition in 1954. The move ushered in the modern era of Canadian professional football. | Which was the last amateur team to compete for the Canadian football championship? | {
"answer_start": [
330
],
"text": [
"Ontario Rugby Football Union"
]
} |
572e807dcb0c0d14000f11ec | Canadian_football | The Grey Cup was established in 1909 after being donated by Albert Grey, 4th Earl Grey, The Governor General of Canada as the championship of teams under the CRU for the Rugby Football Championship of Canada. Initially an amateur competition, it eventually became dominated by professional teams in the 1940s and early 1950s. The Ontario Rugby Football Union, the last amateur organization to compete for the trophy, withdrew from competition in 1954. The move ushered in the modern era of Canadian professional football. | What government position was held by the man who donated the Grey Cup to Canadian football? | {
"answer_start": [
88
],
"text": [
"The Governor General of Canada"
]
} |
572e8209dfa6aa1500f8d065 | Canadian_football | Canadian football has mostly been confined to Canada, with the United States being the only other country to have hosted a high-level Canadian football game. The CFL's controversial "South Division" as it would come to be officially known attempted to put CFL teams in the United States playing under Canadian rules between 1992 and 1995. The move was aborted after three years; the Baltimore Stallions were the most successful of the numerous Americans teams to play in the CFL, winning the 83rd Grey Cup. Continuing financial losses, a lack of proper Canadian football venues, a pervasive belief that the American teams were simply pawns to provide the struggling Canadian teams with expansion fee revenue, and the return of the NFL to Baltimore prompted the end of Canadian football on the American side of the border. | Which one country besides Canada has hosted a professional Canadian football game? | {
"answer_start": [
63
],
"text": [
"United States"
]
} |
572e8209dfa6aa1500f8d066 | Canadian_football | Canadian football has mostly been confined to Canada, with the United States being the only other country to have hosted a high-level Canadian football game. The CFL's controversial "South Division" as it would come to be officially known attempted to put CFL teams in the United States playing under Canadian rules between 1992 and 1995. The move was aborted after three years; the Baltimore Stallions were the most successful of the numerous Americans teams to play in the CFL, winning the 83rd Grey Cup. Continuing financial losses, a lack of proper Canadian football venues, a pervasive belief that the American teams were simply pawns to provide the struggling Canadian teams with expansion fee revenue, and the return of the NFL to Baltimore prompted the end of Canadian football on the American side of the border. | In which year did the CFL first attempt an expansion into the United States? | {
"answer_start": [
324
],
"text": [
"1992"
]
} |
572e8209dfa6aa1500f8d067 | Canadian_football | Canadian football has mostly been confined to Canada, with the United States being the only other country to have hosted a high-level Canadian football game. The CFL's controversial "South Division" as it would come to be officially known attempted to put CFL teams in the United States playing under Canadian rules between 1992 and 1995. The move was aborted after three years; the Baltimore Stallions were the most successful of the numerous Americans teams to play in the CFL, winning the 83rd Grey Cup. Continuing financial losses, a lack of proper Canadian football venues, a pervasive belief that the American teams were simply pawns to provide the struggling Canadian teams with expansion fee revenue, and the return of the NFL to Baltimore prompted the end of Canadian football on the American side of the border. | Which American CFL team won the Grey Cup? | {
"answer_start": [
383
],
"text": [
"Baltimore Stallions"
]
} |
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