Some context: Philippa York (previously known as Robert Millar; born 13 September 1958) is a Scottish journalist and former professional road racing cyclist. York is one of Britain's most successful cyclists of all time. Competing throughout her cycling career as Robert Millar, York won the "King of the Mountains" competition in the 1984 Tour de France and finished fourth overall. York was the first rider from an English speaking country to have won the Mountains classification in the Tour de France.
York was born and raised in Glasgow, Scotland, as Robert Millar. At one time destined for a career as a factory engineer, York attended Shawlands Academy in the south of the city. In 2017, York revealed that she had first felt "different" aged five, but was unaware that this difference came from discomfort with her gender. She initially began riding for Glenmarnock Wheelers cycling club and quickly established herself as a leading amateur road racing rider. As Robert Millar, she was a relatively small man meaning she had comparatively less weight to carry uphill and she excelled as a specialist hill and mountain cyclist. She won the Scottish junior title in 1976 and was Scottish hill-climb champion the following year. In 1978, York established herself on the British scene. She was twenty-first in the Milk Race, and won the British amateur road race championship. She moved to France in 1979 to join the Athletic Club de Boulogne Billancourt (A.C.B.B.), one of Europe's top amateur teams. York was as ever focused and quickly began winning races such the Grand Prix de la Ville de Lillers. This success brought her the admiration of her A.C.B.B. manager Claude Escalon. In 1979, after retaining her British road title, taking fourth place in the world amateur road championship, claiming five wins in France and winning the French 'Best Amateur' Trophy, she turned professional for the Peugeot cycling team, and as a climbing specialist focused on single-day road races and stage races in hilly or mountainous terrain. York was happy to travel abroad and wasn't homesick. As Millar, she married a French woman and lived with her in France.
what do you find that is significant about the article that interest you?
A: York revealed that she had first felt "different" aged five, but was unaware that this difference came from discomfort with her gender.
Some context: The Kinks were an English rock band formed in Muswell Hill, North London, in 1964 by brothers Ray and Dave Davies. They are regarded as one of the most important and influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.
The Kinks started out playing the then popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds -- due to their pioneering contribution to the field, they have often been labelled as "the original punks". Dave Davies was "really bored with this guitar sound - or lack of an interesting sound" so he purchased "a little green amplifier ... an Elpico" from a radio spares shop in Muswell Hill, and "twiddled around with it", including "taking the wires going to the speaker and putting a jack plug on there and plugging it straight into my AC30" (a larger amplifier), but didn't get the sound he wanted until he got frustrated and "got a single-sided Gillette razorblade and cut round the cone [from the centre to the edge] ... so it was all shredded but still on there, still intact. I played and I thought it was amazing." The jagged sound of the amplifier was replicated in the studio; the Elpico was plugged into the Vox AC30, and the resulting effect became a mainstay in The Kinks' early recordings--most notably on "You Really Got Me" and "All Day and All of the Night". From 1966 onwards, The Kinks came to be known for their adherence to traditions of English music and culture, during a period when many other British bands dismissed their heritage in favour of American blues, R&B and pop styles. Ray Davies recalled that at a distinct moment in 1965 he decided to break away from the American scene, and write more introspective and intelligent songs. "I decided I was going to use words more, and say things. I wrote 'Well Respected Man'. That was the first real word-oriented song I wrote. ... [I also] abandoned any attempt to Americanise my accent." The Kinks' allegiance to English styles was strengthened by the ban placed on them by the American Federation of Musicians. The ban cut them off from the American record buying public, the world's largest musical market, forcing them to focus on Britain and mainland Europe. The Kinks expanded on their English sound throughout the remainder of the 1960s, incorporating elements of music hall, folk, and baroque music through use of harpsichord, acoustic guitar, mellotron, and horns, and creating some of the most influential and important music of the period. Beginning with Everybody's In Show-biz (1972), Ray Davies began exploring theatrical concepts on the group's albums; these themes became manifest on the 1973 album Preservation Act 1 and continued through Schoolboys In Disgrace (1976). The Kinks found little success with these conceptual works, and reverted to a traditional rock format throughout the remainder of the 1970s. Sleepwalker (1977), which heralded their return to commercial success, featured a mainstream, relatively slick production style that would become their norm. The band returned to hard rock for Low Budget (1979), and continued to record within the genre throughout the remainder of their career.
What was their musical style?
A:
popular R&B and blues styles; then, under the influence of The Kingsmen's "Louie Louie" recording, developed louder rock and hard rock sounds