Context and question: Shawn Vancour argues that the commercialization of classical music in the early 20th century served to harm the music industry through inadequate representation.
Who argued that the commercialization of classical music was harmful to the music industry?
Answer: Shawn Vancour
Context and question: In the early 1980s, Downtown Manhattan's no wave scene transitioned from its abrasive origins into a more dance-oriented sound, with compilations such as ZE's Mutant Disco (1981) highlighting a newly playful sensibility borne out of the city's clash of hip hop, disco and punk styles, as well as dub reggae and world music influences. Artists such as Liquid Liquid, the B-52s, Cristina, Arthur Russell, James White and the Blacks and Lizzy Mercier Descloux pursued a formula described by Luc Sante as "anything at all + disco bottom". The decadent parties and art installations of venues such as Club 57 and the Mudd Club became cultural hubs for musicians and visual artists alike, with figures such as Jean-Michel Basquiat, Keith Haring and Michael Holman frequenting the scene. Other no wave-indebted groups such as Swans, Glenn Branca, the Lounge Lizards, Bush Tetras and Sonic Youth instead continued exploring the early scene's forays into noise and more abrasive territory.
What movement was the group the Lounge Lizards indebted to?
Answer: no wave
Context and question: The islands have been shaped by numerous glaciations during the Quaternary Period, the most recent being the Devensian.[citation needed] As this ended, the central Irish Sea was deglaciated and the English Channel flooded, with sea levels rising to current levels some 4,000 to 5,000 years ago, leaving the British Isles in their current form. Whether or not there was a land bridge between Great Britain and Ireland at this time is somewhat disputed, though there was certainly a single ice sheet covering the entire sea.
It is undisputed that there was a land bridge between Great Britain and what country?
Answer:
unanswerable