Background: The Replacements were an American rock band formed in Minneapolis, Minnesota in 1979. Initially a punk rock band, they are considered pioneers of alternative rock. The band was composed of the guitarist and vocalist Paul Westerberg, guitarist Bob Stinson, bass guitarist Tommy Stinson and drummer Chris Mars for most of its career. Following several acclaimed albums, including Let It Be and Tim, Bob Stinson left the band in 1986, and Slim Dunlap joined as lead guitarist.
Context: The band soon recorded a four-song demo tape in Mars's basement and handed it to Peter Jesperson in May 1980. Jesperson was the manager of Oar Folkjokeopus, a punk rock record store in Minneapolis, and had also founded Twin/Tone Records with Paul Stark (a local recording engineer) and Charley Hallman. Westerberg originally handed in the tape to see if the band could perform at Jay's Longhorn Bar, a local venue where Jesperson worked as a disc jockey. (The band's first performance at a bar was at the Longhorn on July 2, 1980.) He eavesdropped as Jesperson put in the tape, only to run away as soon as the first song, "Raised in the City", played. Jesperson played the song again and again. "If I've ever had a magic moment in my life, it was popping that tape in", said Jesperson. "I didn't even get through the first song before I thought my head was going to explode".  Jesperson called Westerberg the next day, asking, "So do you want to do a single or an album?" With the agreement of Stark and the rest of the band, the Replacements signed with Twin/Tone Records in 1980. Jesperson's support of the band was welcomed, and they asked him to be their manager after their second show. Later that summer they played at the Longhorn on a Wednesday "New Band Night". They also played several club gigs to almost empty rooms. When they finished a song, apart from the low hum of conversation, the band would hear Jesperson's loud whistle and fast clapping. "His enthusiasm kept us going at times, definitely," Mars later said. "His vision, his faith in the band was a binding force."  After the Replacements signed with Twin/Tone, Westerberg began to write new songs and soon had a whole album's worth of material. Mere weeks after their live debut, the band felt ready to record the album. Jesperson chose Blackberry Way, an eight-track home studio in Minneapolis. However, as the band had no clout there, time spent in the studio was intermittent, and it took about six months to record the album. Although not important at the time, Twin/Tone could not afford to release the album until August 1981. Because they were suspicious of the music business in general, the Replacements had not signed a written contract with Twin/Tone Records.
Question: What was Oar Folkjokeopus?
Answer: a punk rock record store in Minneapolis,

Background: Gaelic Ireland (Irish: Eire Ghaidhealach) was the Gaelic political and social order, and associated culture, that existed in Ireland from the prehistoric era until the early 17th century. Before the Norman invasion of 1169, Gaelic Ireland comprised the whole island. Thereafter, it comprised that part of the country not under foreign dominion at a given time. For most of its history, Gaelic Ireland was a "patchwork" hierarchy of territories ruled by a hierarchy of kings or chiefs, who were elected through tanistry.
Context: Throughout the Middle Ages, the common clothing amongst the Gaelic Irish consisted of a brat (a woollen semi circular cloak) worn over a leine (a loose-fitting, long-sleeved tunic made of linen). For men the leine reached to their ankles but was hitched up by means of a crios (pronounced 'kriss') which was a type of woven belt. The leine was hitched up to knee level. (Gaelicattire.com) Women wore the leine at full length. Men sometimes wore tight-fitting trews (Gaelic triubhas) but otherwise went bare-legged. The brat was simply thrown over both shoulders or sometimes over only one. Occasionally the brat was fastened with a dealg (brooch), with men usually wearing the dealg at their shoulders and women at their chests. The ionar (a short, tight-fitting jacket) became popular later on. In Topographia Hibernica, written during the 1180s, Gerald de Barri wrote that the Irish commonly wore hoods at that time (perhaps forming part of the brat), while Edmund Spenser wrote in the 1580s that the brat was (in general) their main item of clothing. Gaelic clothing does not appear to have been influenced by outside styles.  Women invariably grew their hair long and, as in other European cultures, this custom was also common among the men. It is said that the Gaelic Irish took great pride in their long hair--for example, a person could be forced to pay the heavy fine of two cows for shaving a man's head against his will. For women, very long hair was seen as a mark of beauty. Sometimes, wealthy men and women would braid their hair and fasten hollow golden balls to the braids. Another style that was popular among some medieval Gaelic men was the glib (short all over except for a long, thick lock of hair towards the front of the head). A band or ribbon around the forehead was the typical way of holding one's hair in place. For the wealthy, this band was often a thin and flexible band of burnished gold, silver or findruine. When the Anglo-Normans and the English colonized Ireland, hair length came to signify one's allegiance. Irishmen who cut their hair short were deemed to be forsaking their Irish heritage. Likewise, English colonists who grew their hair long at the back were deemed to be giving in to the Irish life.  Gaelic men typically wore a beard and mustache, and it was often seen as dishonourable for a Gaelic man to have no facial hair. Beard styles varied - the long forked beard and the rectangular Mesopotamian-style beard were fashionable at times.
Question: What is a leine?
Answer:
the common clothing amongst the Gaelic Irish