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Tourism contributes billions of dollars each year to the state's economy and Tennessee is ranked among the Top 10 destinations in the US. In 2014 a record 100 million people visited the state resulting in $17.7 billion in tourism related spending within the state, an increase of 6.3% over 2013; tax revenue from tourism equaled $1.5 billion. Each county in Tennessee saw at least $1 million from tourism while 19 counties received at least $100 million (Davidson, Shelby, and Sevier counties were the top three). Tourism-generated jobs for the state reached 152,900, a 2.8% increase. International travelers to Tennessee accounted for $533 million in spending. | In which year did Tennessee tourism first exceed 100 million visitors? | 2014 |
Tourism contributes billions of dollars each year to the state's economy and Tennessee is ranked among the Top 10 destinations in the US. In 2014 a record 100 million people visited the state resulting in $17.7 billion in tourism related spending within the state, an increase of 6.3% over 2013; tax revenue from tourism equaled $1.5 billion. Each county in Tennessee saw at least $1 million from tourism while 19 counties received at least $100 million (Davidson, Shelby, and Sevier counties were the top three). Tourism-generated jobs for the state reached 152,900, a 2.8% increase. International travelers to Tennessee accounted for $533 million in spending. | How many billions of dollars were spend by tourists in Tennessee in 2014? | 17.7 |
Tourism contributes billions of dollars each year to the state's economy and Tennessee is ranked among the Top 10 destinations in the US. In 2014 a record 100 million people visited the state resulting in $17.7 billion in tourism related spending within the state, an increase of 6.3% over 2013; tax revenue from tourism equaled $1.5 billion. Each county in Tennessee saw at least $1 million from tourism while 19 counties received at least $100 million (Davidson, Shelby, and Sevier counties were the top three). Tourism-generated jobs for the state reached 152,900, a 2.8% increase. International travelers to Tennessee accounted for $533 million in spending. | How much tax revenue did tourism generate for Tennessee in 2014? | $1.5 billion |
Tourism contributes billions of dollars each year to the state's economy and Tennessee is ranked among the Top 10 destinations in the US. In 2014 a record 100 million people visited the state resulting in $17.7 billion in tourism related spending within the state, an increase of 6.3% over 2013; tax revenue from tourism equaled $1.5 billion. Each county in Tennessee saw at least $1 million from tourism while 19 counties received at least $100 million (Davidson, Shelby, and Sevier counties were the top three). Tourism-generated jobs for the state reached 152,900, a 2.8% increase. International travelers to Tennessee accounted for $533 million in spending. | In 2014, which three Tennessee counties took in the most money from tourism? | Davidson, Shelby, and Sevier |
Tourism contributes billions of dollars each year to the state's economy and Tennessee is ranked among the Top 10 destinations in the US. In 2014 a record 100 million people visited the state resulting in $17.7 billion in tourism related spending within the state, an increase of 6.3% over 2013; tax revenue from tourism equaled $1.5 billion. Each county in Tennessee saw at least $1 million from tourism while 19 counties received at least $100 million (Davidson, Shelby, and Sevier counties were the top three). Tourism-generated jobs for the state reached 152,900, a 2.8% increase. International travelers to Tennessee accounted for $533 million in spending. | What was the percentage increase in Tennessee's tourism-based jobs in 2014? | 2.8% |
In 2013 tourism within the state from local citizens accounted for 39.9% of tourists, the second highest originating location for tourists to Tennessee is the state of Georgia, accounting for 8.4% of tourists.:17 Forty-four percent of stays in the state were "day trips", 25% stayed one night, 15% stayed two nights, and 11% stayed 4 or more nights. The average stay was 2.16 nights, compared to 2.03 nights for the US as a whole.:40 The average person spent $118 per day: 29% on transportation, 24% on food, 17% on accommodation, and 28% on shopping and entertainment.:44 | Which other state sent Tennessee the most tourists in 2013? | Georgia |
In 2013 tourism within the state from local citizens accounted for 39.9% of tourists, the second highest originating location for tourists to Tennessee is the state of Georgia, accounting for 8.4% of tourists.:17 Forty-four percent of stays in the state were "day trips", 25% stayed one night, 15% stayed two nights, and 11% stayed 4 or more nights. The average stay was 2.16 nights, compared to 2.03 nights for the US as a whole.:40 The average person spent $118 per day: 29% on transportation, 24% on food, 17% on accommodation, and 28% on shopping and entertainment.:44 | What percentage of out-of-state tourists stayed in Tennessee for four or more nights? | 11% |
In 2013 tourism within the state from local citizens accounted for 39.9% of tourists, the second highest originating location for tourists to Tennessee is the state of Georgia, accounting for 8.4% of tourists.:17 Forty-four percent of stays in the state were "day trips", 25% stayed one night, 15% stayed two nights, and 11% stayed 4 or more nights. The average stay was 2.16 nights, compared to 2.03 nights for the US as a whole.:40 The average person spent $118 per day: 29% on transportation, 24% on food, 17% on accommodation, and 28% on shopping and entertainment.:44 | What average daily amount did a tourist spend in Tennessee in 2013? | $118 |
In 2013 tourism within the state from local citizens accounted for 39.9% of tourists, the second highest originating location for tourists to Tennessee is the state of Georgia, accounting for 8.4% of tourists.:17 Forty-four percent of stays in the state were "day trips", 25% stayed one night, 15% stayed two nights, and 11% stayed 4 or more nights. The average stay was 2.16 nights, compared to 2.03 nights for the US as a whole.:40 The average person spent $118 per day: 29% on transportation, 24% on food, 17% on accommodation, and 28% on shopping and entertainment.:44 | What percentage of Tennessee tourists daily spending in 2013 went toward accommodation? | 17% |
In 2013 tourism within the state from local citizens accounted for 39.9% of tourists, the second highest originating location for tourists to Tennessee is the state of Georgia, accounting for 8.4% of tourists.:17 Forty-four percent of stays in the state were "day trips", 25% stayed one night, 15% stayed two nights, and 11% stayed 4 or more nights. The average stay was 2.16 nights, compared to 2.03 nights for the US as a whole.:40 The average person spent $118 per day: 29% on transportation, 24% on food, 17% on accommodation, and 28% on shopping and entertainment.:44 | In which state do the greatest percentage of Tennessee tourists reside? | Tennessee |
Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville. | Which city is the endpoint of I-26? | Kingsport |
Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville. | I-24 connects which two Tennessee cities? | Chattanooga to Clarksville |
Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville. | Which interstate highway running north-south passes through Memphis? | Interstate 55 |
Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville. | Which interstate ends at a junction close to Dandridge, Tennessee? | Interstate 81 |
Interstate 40 crosses the state in a west-east orientation. Its branch interstate highways include I-240 in Memphis; I-440 in Nashville; I-140 from Knoxville to Alcoa and I-640 in Knoxville. I-26, although technically an east-west interstate, runs from the North Carolina border below Johnson City to its terminus at Kingsport. I-24 is an east-west interstate that runs cross-state from Chattanooga to Clarksville. In a north-south orientation are highways I-55, I-65, I-75, and I-81. Interstate 65 crosses the state through Nashville, while Interstate 75 serves Chattanooga and Knoxville and Interstate 55 serves Memphis. Interstate 81 enters the state at Bristol and terminates at its junction with I-40 near Dandridge. I-155 is a branch highway from I-55. The only spur highway of I-75 in Tennessee is I-275, which is in Knoxville. When completed, I-69 will travel through the western part of the state, from South Fulton to Memphis. A branch interstate, I-269 also exists from Millington to Collierville. | What Tennessee cities are connected by I-269? | Millington to Collierville |
Tennessee politics, like that of most U.S. states, are dominated by the Republican and the Democratic parties. Historian Dewey W. Grantham traces divisions in the state to the period of the American Civil War: for decades afterward, the eastern third of the state was Republican and the western two thirds voted Democrat. This division was related to the state's pattern of farming, plantations and slaveholding. The eastern section was made up of yeoman farmers, but Middle and West Tennessee cultivated crops, such as tobacco and cotton, that were dependent on the use of slave labor. These areas became defined as Democratic after the war. | Which are the two main parties in Tennessee politics? | Republican and the Democratic |
Tennessee politics, like that of most U.S. states, are dominated by the Republican and the Democratic parties. Historian Dewey W. Grantham traces divisions in the state to the period of the American Civil War: for decades afterward, the eastern third of the state was Republican and the western two thirds voted Democrat. This division was related to the state's pattern of farming, plantations and slaveholding. The eastern section was made up of yeoman farmers, but Middle and West Tennessee cultivated crops, such as tobacco and cotton, that were dependent on the use of slave labor. These areas became defined as Democratic after the war. | Which part of Tennessee voted more Republican in the years following the Civil War? | eastern |
Tennessee politics, like that of most U.S. states, are dominated by the Republican and the Democratic parties. Historian Dewey W. Grantham traces divisions in the state to the period of the American Civil War: for decades afterward, the eastern third of the state was Republican and the western two thirds voted Democrat. This division was related to the state's pattern of farming, plantations and slaveholding. The eastern section was made up of yeoman farmers, but Middle and West Tennessee cultivated crops, such as tobacco and cotton, that were dependent on the use of slave labor. These areas became defined as Democratic after the war. | What type of farmers inhabited eastern Tennessee in the late 19th century? | yeoman |
Tennessee politics, like that of most U.S. states, are dominated by the Republican and the Democratic parties. Historian Dewey W. Grantham traces divisions in the state to the period of the American Civil War: for decades afterward, the eastern third of the state was Republican and the western two thirds voted Democrat. This division was related to the state's pattern of farming, plantations and slaveholding. The eastern section was made up of yeoman farmers, but Middle and West Tennessee cultivated crops, such as tobacco and cotton, that were dependent on the use of slave labor. These areas became defined as Democratic after the war. | Which crops grown in West Tennessee had required a great deal of slave labor? | tobacco and cotton |
During Reconstruction, freedmen and former free people of color were granted the right to vote; most joined the Republican Party. Numerous African Americans were elected to local offices, and some to state office. Following Reconstruction, Tennessee continued to have competitive party politics. But in the 1880s, the white-dominated state government passed four laws, the last of which imposed a poll tax requirement for voter registration. These served to disenfranchise most African Americans, and their power in the Republican Party, the state, and cities where they had significant population was markedly reduced. In 1900 African Americans comprised 23.8 percent of the state's population, concentrated in Middle and West Tennessee. In the early 1900s, the state legislature approved a form of commission government for cities based on at-large voting for a few positions on a Board of Commission; several adopted this as another means to limit African-American political participation. In 1913 the state legislature enacted a bill enabling cities to adopt this structure without legislative approval. | Which party did most former slaves join when they were given the right to vote after the Civil War? | Republican |
During Reconstruction, freedmen and former free people of color were granted the right to vote; most joined the Republican Party. Numerous African Americans were elected to local offices, and some to state office. Following Reconstruction, Tennessee continued to have competitive party politics. But in the 1880s, the white-dominated state government passed four laws, the last of which imposed a poll tax requirement for voter registration. These served to disenfranchise most African Americans, and their power in the Republican Party, the state, and cities where they had significant population was markedly reduced. In 1900 African Americans comprised 23.8 percent of the state's population, concentrated in Middle and West Tennessee. In the early 1900s, the state legislature approved a form of commission government for cities based on at-large voting for a few positions on a Board of Commission; several adopted this as another means to limit African-American political participation. In 1913 the state legislature enacted a bill enabling cities to adopt this structure without legislative approval. | In which decade did the Tennessee legislature institute a poll tax? | 1880s |
During Reconstruction, freedmen and former free people of color were granted the right to vote; most joined the Republican Party. Numerous African Americans were elected to local offices, and some to state office. Following Reconstruction, Tennessee continued to have competitive party politics. But in the 1880s, the white-dominated state government passed four laws, the last of which imposed a poll tax requirement for voter registration. These served to disenfranchise most African Americans, and their power in the Republican Party, the state, and cities where they had significant population was markedly reduced. In 1900 African Americans comprised 23.8 percent of the state's population, concentrated in Middle and West Tennessee. In the early 1900s, the state legislature approved a form of commission government for cities based on at-large voting for a few positions on a Board of Commission; several adopted this as another means to limit African-American political participation. In 1913 the state legislature enacted a bill enabling cities to adopt this structure without legislative approval. | Which party declined in Tennessee politics following voting reform legislation during Reconstruction? | Republican |
During Reconstruction, freedmen and former free people of color were granted the right to vote; most joined the Republican Party. Numerous African Americans were elected to local offices, and some to state office. Following Reconstruction, Tennessee continued to have competitive party politics. But in the 1880s, the white-dominated state government passed four laws, the last of which imposed a poll tax requirement for voter registration. These served to disenfranchise most African Americans, and their power in the Republican Party, the state, and cities where they had significant population was markedly reduced. In 1900 African Americans comprised 23.8 percent of the state's population, concentrated in Middle and West Tennessee. In the early 1900s, the state legislature approved a form of commission government for cities based on at-large voting for a few positions on a Board of Commission; several adopted this as another means to limit African-American political participation. In 1913 the state legislature enacted a bill enabling cities to adopt this structure without legislative approval. | What percentage of the Tennessee population was African-American in 1900? | 23.8 |
During Reconstruction, freedmen and former free people of color were granted the right to vote; most joined the Republican Party. Numerous African Americans were elected to local offices, and some to state office. Following Reconstruction, Tennessee continued to have competitive party politics. But in the 1880s, the white-dominated state government passed four laws, the last of which imposed a poll tax requirement for voter registration. These served to disenfranchise most African Americans, and their power in the Republican Party, the state, and cities where they had significant population was markedly reduced. In 1900 African Americans comprised 23.8 percent of the state's population, concentrated in Middle and West Tennessee. In the early 1900s, the state legislature approved a form of commission government for cities based on at-large voting for a few positions on a Board of Commission; several adopted this as another means to limit African-American political participation. In 1913 the state legislature enacted a bill enabling cities to adopt this structure without legislative approval. | In 1913, the Tennessee state legislature made which organizational structure the default form of city government in the state? | Board of Commission |
After disenfranchisement of blacks, the GOP in Tennessee was historically a sectional party supported by whites only in the eastern part of the state. In the 20th century, except for two nationwide Republican landslides of the 1920s (in 1920, when Tennessee narrowly supported Warren G. Harding over Ohio Governor James Cox, and in 1928, when it more decisively voted for Herbert Hoover over New York Governor Al Smith, a Catholic), the state was part of the Democratic Solid South until the 1950s. In that postwar decade, it twice voted for Republican Dwight D. Eisenhower, former Allied Commander of the Armed Forces during World War II. Since then, more of the state's voters have shifted to supporting Republicans, and Democratic presidential candidates have carried Tennessee only four times. | Which Republican presidential candidate did Tennessee support in 1920? | Warren G. Harding |
After disenfranchisement of blacks, the GOP in Tennessee was historically a sectional party supported by whites only in the eastern part of the state. In the 20th century, except for two nationwide Republican landslides of the 1920s (in 1920, when Tennessee narrowly supported Warren G. Harding over Ohio Governor James Cox, and in 1928, when it more decisively voted for Herbert Hoover over New York Governor Al Smith, a Catholic), the state was part of the Democratic Solid South until the 1950s. In that postwar decade, it twice voted for Republican Dwight D. Eisenhower, former Allied Commander of the Armed Forces during World War II. Since then, more of the state's voters have shifted to supporting Republicans, and Democratic presidential candidates have carried Tennessee only four times. | What religion was the Democratic presidential candidate that Tennessee voted against in 1928? | Catholic |
After disenfranchisement of blacks, the GOP in Tennessee was historically a sectional party supported by whites only in the eastern part of the state. In the 20th century, except for two nationwide Republican landslides of the 1920s (in 1920, when Tennessee narrowly supported Warren G. Harding over Ohio Governor James Cox, and in 1928, when it more decisively voted for Herbert Hoover over New York Governor Al Smith, a Catholic), the state was part of the Democratic Solid South until the 1950s. In that postwar decade, it twice voted for Republican Dwight D. Eisenhower, former Allied Commander of the Armed Forces during World War II. Since then, more of the state's voters have shifted to supporting Republicans, and Democratic presidential candidates have carried Tennessee only four times. | How many times has Tennessee supported Democratic presidential candidates in the general elections since the 1950s? | four |
After disenfranchisement of blacks, the GOP in Tennessee was historically a sectional party supported by whites only in the eastern part of the state. In the 20th century, except for two nationwide Republican landslides of the 1920s (in 1920, when Tennessee narrowly supported Warren G. Harding over Ohio Governor James Cox, and in 1928, when it more decisively voted for Herbert Hoover over New York Governor Al Smith, a Catholic), the state was part of the Democratic Solid South until the 1950s. In that postwar decade, it twice voted for Republican Dwight D. Eisenhower, former Allied Commander of the Armed Forces during World War II. Since then, more of the state's voters have shifted to supporting Republicans, and Democratic presidential candidates have carried Tennessee only four times. | Which Republican won the Presidency while carrying Tennessee in 1928? | Herbert Hoover |
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives. | In 1960, what group made up 16.45% of Tennessee's population? | African Americans |
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives. | What Congressional Act fully re-enfranchised African-American in Tennessee? | Voting Rights Act of 1965 |
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives. | Which Republican Senator's 1970 victory showed the Republican Party's renewed competitiveness in Tennessee? | Bill Brock |
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives. | Which constituency has become the Republican Party's staunchest supporters in Tennessee? | white conservatives |
By 1960 African Americans comprised 16.45% of the state's population. It was not until after the mid-1960s and passage of the Voting Rights Act of 1965 that they were able to vote in full again, but new devices, such as at-large commission city governments, had been adopted in several jurisdictions to limit their political participation. Former Gov. Winfield Dunn and former U.S. Sen. Bill Brock wins in 1970 helped make the Republican Party competitive among whites for the statewide victory. Tennessee has selected governors from different parties since 1970. Increasingly the Republican Party has become the party of white conservatives. | Which Republican was elected Tennessee Governor in 1970? | Winfield Dunn |
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859. | Which two Tennessee cities are most supportive of the Democratic Party? | Nashville and Memphis |
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859. | Which Tennessee city has the largest African-American population? | Memphis |
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859. | Which two eastern Tennessee congressional districts have the longest track record of favoring Republican candidates? | 1st and 2nd |
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859. | Since which year has Tennessee's 1st congressional district voted overwhelmingly Republican? | 1881 |
In the early 21st century, Republican voters control most of the state, especially in the more rural and suburban areas outside of the cities; Democratic strength is mostly confined to the urban cores of the four major cities, and is particularly strong in the cities of Nashville and Memphis. The latter area includes a large African-American population. Historically, Republicans had their greatest strength in East Tennessee before the 1960s. Tennessee's 1st and 2nd congressional districts, based in the Tri-Cities and Knoxville, respectively, are among the few historically Republican districts in the South. Those districts' residents supported the Union over the Confederacy during the Civil War; they identified with the GOP after the war and have stayed with that party ever since. The 1st has been in Republican hands continuously since 1881, and Republicans (or their antecedents) have held it for all but four years since 1859. The 2nd has been held continuously by Republicans or their antecedents since 1859. | Which two Tennessee metropolitan areas have been most supportive of the Republican Party? | Tri-Cities and Knoxville |
In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas. | Which Democratic candidate lost his own state in the 2000 general election? | Al Gore |
In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas. | By what percentage of the popular vote did George W. Bush carry Tennessee in 2004? | 14% |
In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas. | Democratic presidential candidates from which region's states have fared best in recent Tennessee history? | Southern |
In the 2000 presidential election, Vice President Al Gore, a former Democratic U.S. Senator from Tennessee, failed to carry his home state, an unusual occurrence but indicative of strengthening Republican support. Republican George W. Bush received increased support in 2004, with his margin of victory in the state increasing from 4% in 2000 to 14% in 2004. Democratic presidential nominees from Southern states (such as Lyndon B. Johnson, Jimmy Carter, Bill Clinton) usually fare better than their Northern counterparts do in Tennessee, especially among split-ticket voters outside the metropolitan areas. | Which 2000 presidential candidate was a former US Senator from Tennessee? | Al Gore |
The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana. | Which 1962 US Supreme Court ruling forced states to realign their voting districts to reflect census findings? | Baker v. Carr |
The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana. | What phrase expresses the Supreme Court's 1962 decision that population overrules geographic consideration in election districting? | one man, one vote |
The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana. | A bias in Tennessee politics favoring which type of geographical district gave rise to the Baker v. Carr Supreme Court case? | rural |
The Baker v. Carr (1962) decision of the US Supreme Court established the principle of "one man, one vote", requiring state legislatures to redistrict to bring Congressional apportionment in line with decennial censuses. It also required both houses of state legislatures to be based on population for representation and not geographic districts such as counties. This case arose out of a lawsuit challenging the longstanding rural bias of apportionment of seats in the Tennessee legislature. After decades in which urban populations had been underrepresented in many state legislatures, this significant ruling led to an increased (and proportional) prominence in state politics by urban and, eventually, suburban, legislators and statewide officeholders in relation to their population within the state. The ruling also applied to numerous other states long controlled by rural minorities, such as Alabama, Vermont, and Montana. | Which type of geographical district became more powerful in Tennessee politics following the 1962 Supreme Court decision? | urban |
The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system. | Which Tennessee law enforcement agency looks for road safety violations? | Highway Patrol |
The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system. | Which Tennessee agency enforces state wildlife regulations outside of parks? | TWRA |
The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system. | What is the acronym for Tennessee's statewide criminal investigation agency? | TBI |
The Highway Patrol is the primary law enforcement entity that concentrates on highway safety regulations and general non-wildlife state law enforcement and is under the jurisdiction of the Tennessee Department of Safety. The TWRA is an independent agency tasked with enforcing all wildlife, boating, and fisheries regulations outside of state parks. The TBI maintains state-of-the-art investigative facilities and is the primary state-level criminal investigative department. Tennessee State Park Rangers are responsible for all activities and law enforcement inside the Tennessee State Parks system. | Who provides law enforcement within Tennessee's state parks? | Tennessee State Park Rangers |
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits. | Which law enforcement entity serves warrants in Tennessee? | Sheriff's Office |
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits. | Each Tennessee county must elect which law enforcement official? | Sheriff |
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits. | Who is in charge of policing Tennessee counties' unincorporated areas? | County Sheriff |
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits. | Who polices incorporated areas of Tennessee's counties? | Municipal Police Departments |
Local law enforcement is divided between County Sheriff's Offices and Municipal Police Departments. Tennessee's Constitution requires that each County have an elected Sheriff. In 94 of the 95 counties the Sheriff is the chief law enforcement officer in the county and has jurisdiction over the county as a whole. Each Sheriff's Office is responsible for warrant service, court security, jail operations and primary law enforcement in the unincorporated areas of a county as well as providing support to the municipal police departments. Incorporated municipalities are required to maintain a police department to provide police services within their corporate limits. | What proportion of Tennessee counties recognize their Sheriff as their head law enforcement official? | 94 of the 95 |
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). | What method did Tennessee use for capital punishment before 1913? | hanging |
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). | In which year was electrocution introduced as Tennessee's method of execution? | 1916 |
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). | How many inmates has Tennessee executed since 2000? | six |
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). | How many death row inmates were awaiting executing in Tennessee in April 2015? | 73 |
Capital punishment has existed in Tennessee at various times since statehood. Before 1913 the method of execution was hanging. From 1913 to 1915 there was a hiatus on executions but they were reinstated in 1916 when electrocution became the new method. From 1972 to 1978, after the Supreme Court ruled (Furman v. Georgia) capital punishment unconstitutional, there were no further executions. Capital punishment was restarted in 1978, although those prisoners awaiting execution between 1960 and 1978 had their sentences mostly commuted to life in prison. From 1916 to 1960 the state executed 125 inmates. For a variety of reasons there were no further executions until 2000. Since 2000, Tennessee has executed six prisoners and has 73 prisoners on death row (as of April 2015). | How many prisoners did Tennessee execute between 1916 and 1960? | 125 |
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. | What is the nickname of the University of Tennessee, Knoxville athletic teams? | Volunteers |
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. | In which year did the University of Tennessee begin competing in the Southeastern Conference of the NCAA? | 1932 |
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. | How many college football bowl championships have the Tennessee Volunteers won? | 25 |
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. | How many national titles has the Tennessee Volunteers women's basketball team claimed? | 8 |
In Knoxville, the Tennessee Volunteers college team has played in the Southeastern Conference of the National Collegiate Athletic Association since 1932. The football team has won 13 SEC championships and 25 bowls, including four Sugar Bowls, three Cotton Bowls, an Orange Bowl and a Fiesta Bowl. Meanwhile, the men's basketball team has won four SEC championships and reached the NCAA Elite Eight in 2010. In addition, the women's basketball team has won a host of SEC regular-season and tournament titles along with 8 national titles. | What is the farthest the Tennessee Volunteers have progressed in the NCAA men's basketball tournament? | Elite Eight |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What is post-punk? | heterogeneous type of rock music |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | When did post-punk arrive on the scene? | in the wake of the punk movement of the 1970s |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What did post-punk artists use in their music? | critical theory, cinema, performance art and modernist literature |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What began to spring up around the post-punk music? | independent record labels and fanzines |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | How did post-punk take on rock and roll? | conceptual assault |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | When was the original punk movement? | 1970s |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What is a name for a type of rock music that is extremely varied in sound? | Post-punk |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What elements of punk rock did post-punk depart from? | musical conventions and wider cultural affiliations |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What subject matter does post-punk commonly mesh its musical sensibilities with? | art and politics |
Post-punk is a heterogeneous type of rock music that emerged in the wake of the punk movement of the 1970s. Drawing inspiration from elements of punk rock while departing from its musical conventions and wider cultural affiliations, post-punk music was marked by varied, experimentalist sensibilities and its "conceptual assault" on rock tradition. Artists embraced electronic music, black dance styles and the avant-garde, as well as novel recording technology and production techniques. The movement also saw the frequent intersection of music with art and politics, as artists liberally drew on sources such as critical theory, cinema, performance art and modernist literature. Accompanying these musical developments were subcultures that produced visual art, multimedia performances, independent record labels and fanzines in conjunction with the music. | What developed along with the music developments of post-punk? | subcultures |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | Who coined the term post-punk? | journalists in the late 1970s |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | What dis the new term, post-punk, cover? | groups moving beyond punk's sonic template into disparate areas |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | What inspired early post-punk artists? | punk's DIY ethic and energy |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | Why did post-punk fall out of love with punk? | commercial formula, rock convention and self-parody |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | What did the new post-punk artists believe? | "radical content demands radical form" |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | Who were the first to use the term "post-punk"? | journalists |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | When was "post-punk" first used to start describing artists? | late 1970s |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | What were many post-punk artists originally inspired by? | punk's DIY ethic and energy |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | How many chords did standard punk songs typically use? | three |
The term "post-punk" was first used by journalists in the late 1970s to describe groups moving beyond punk's sonic template into disparate areas. Many of these artists, initially inspired by punk's DIY ethic and energy, ultimately became disillusioned with the style and movement, feeling that it had fallen into commercial formula, rock convention and self-parody. They repudiated its populist claims to accessibility and raw simplicity, instead seeing an opportunity to break with musical tradition, subvert commonplaces and challenge audiences. Artists moved beyonds punk's focus on the concerns of a largely white, male, working class population and abandoned its continued reliance on established rock and roll tropes, such as three-chord progressions and Chuck Berry-based guitar riffs. These artists instead defined punk as "an imperative to constant change", believing that "radical content demands radical form". | What did post-punk artists feel there was an imperative to constantly do? | change |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What were the things that post-punk really got into? | experimentation with production techniques |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What are non-rock styles that post-punk used as inspiration? | dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What aesthetic did Matthew Bannister associate with post-punk? | avant-garde |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What music did post-punk end to reject? | high cultural references of 1960s rock artists |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | As a movement, post-punk has been characterized by its conceptual assault on what conventions? | rock |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What does post-punk reject any of which are perceived as being traditionalist, hegemonic, or rockist? | aesthetics |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What is one of the foundational aspects post-punk is deeply favorable towards? | experimentation |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | How did post-punk artists once again approach the studio? | as an instrument |
Though the music varied widely between regions and artists, the post-punk movement has been characterized by its "conceptual assault" on rock conventions and rejection of aesthetics perceived of as traditionalist, hegemonic or rockist in favor of experimentation with production techniques and non-rock musical styles such as dub, electronic music, disco, noise, jazz, krautrock, world music and the avant-garde. While post-punk musicians often avoided or intentionally obscured conventional influences, previous musical styles did serve as touchstones for the movement, including particular brands of glam, art rock and "[the] dark undercurrent of '60s music".[nb 1] According to Reynolds, artists once again approached the studio as an instrument, using new recording methods and pursuing novel sonic territories. Author Matthew Bannister wrote that post-punk artists rejected the high cultural references of 1960s rock artists like the Beatles and Bob Dylan as well as paradigms that defined "rock as progressive, as art, as 'sterile' studio perfectionism ... by adopting an avant-garde aesthetic". | What references did post-punk artists specifically reject of the 1960s rock artists? | high cultural |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | How did Nicholas Lezard describe post-punk? | fusion of art and music |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | Which artists were influential in post-punk? | Captain Beefheart and David Bowie |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | Which writers helped to influence the post-punk movement? | William S. Burroughs and J.G. Ballard |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | What was an intellectual focus of post-punk? | postmodernism |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | How did the post-punk movement feel about big business? | anti-corporatist |
Nicholas Lezard described post-punk as "a fusion of art and music". The era saw the robust appropriation of ideas from literature, art, cinema, philosophy, politics and critical theory into musical and pop cultural contexts. Artists sought to refuse the common distinction between high and low culture and returned to the art school tradition found in the work of artists such as Captain Beefheart and David Bowie. Among major influences on a variety of post-punk artists were writers such as William S. Burroughs and J.G. Ballard, avant-garde political scenes such as Situationism and Dada, and intellectual movements such as postmodernism. Many artists viewed their work in explicitly political terms. Additionally, in some locations, the creation of post-punk music was closely linked to the development of efficacious subcultures, which played important roles in the production of art, multimedia performances, fanzines and independent labels related to the music. Many post-punk artists maintained an anti-corporatist approach to recording and instead seized on alternate means of producing and releasing music. Journalists also became an important element of the culture, and popular music magazines and critics became immersed in the movement. | What was Nicholas Lezard's description of post-punk? | "a fusion of art and music" |
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