IN: Anquetil was the son of a builder in Mont-Saint-Aignan, in the hills above Rouen in Normandy, north-west France. He lived there with his parents, Ernest and Marie, and his brother Philippe and then at Boisguillaume in a two-storey house, "one of those houses with exposed beams that tourists think are pretty but those who live there find uncomfortable." In 1941, his father refused contracts to work on military installations for the German occupiers and his work dried up. Other members of the family worked in strawberry farming and Anquetil's father followed them, moving to the hamlet of Bourguet, near Quincampoix.

Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular. Divisions between their fans became marked, which two sociologists studying the impact of the Tour on French society say became emblematic of France old and new. The extent of those divisions is shown in a story, perhaps apocryphal, told by Pierre Chany, who was close to Anquetil: The Tour de France has the major fault of dividing the country, right down to the smallest hamlet, even families, into two rival camps. I know a man who grabbed his wife and held her on the grill of a heated stove, seated and with her skirts held up, for favouring Jacques Anquetil when he preferred Raymond Poulidor. The following year, the woman became a Poulidor-iste. But it was too late. The husband had switched his allegiance to Gimondi. The last I heard they were digging in their heels and the neighbours were complaining. Jean-Luc Boeuf and Yves Leonard, in their study, wrote: Those who recognised themselves in Jacques Anquetil liked his priority of style and elegance in the way he rode. Behind this fluidity and the appearance of ease was the image of France winning and those who took risks identified with him. Humble people saw themselves in Raymond Poulidor, whose face - lined with effort - represented the life they led on land they worked without rest or respite. His declarations, full of good sense, delighted the crowds: a race, even a difficult one, lasts less time than a day bringing in the harvest. A big part of the public therefore finished by identifying with the one who symbolised bad luck and the eternal position of runner-up, an image that was far from true for Poulidor, whose record was particularly rich. Even today, the expression of the eternal second and of a Poulidor Complex is associated with a hard life, as an article by Jacques Marseille showed in Le Figaro when it was headlined "This country is suffering from a Poulidor Complex".

What was the social significance of that incident ?

OUT: Divisions between their fans became marked, which two sociologists studying the impact of the Tour on French society say became emblematic of France old and new.

Answer the question at the end by quoting:

Royksopp (Norwegian pronunciation: ['royksop]) are a Norwegian electronic music duo from Tromso, formed in 1998. The duo consists of Svein Berge and Torbjorn Brundtland. Royksopp is the Norwegian word for the class of mushrooms known as puffballs, the band's name substitutes o in place of o. Berge and Brundtland were introduced to each other through a mutual friend in Tromso, Norway. They enjoyed the same films and music, and shared an interest in electronics.
Royksopp's third studio album, Junior, was released on 23 March 2009, featuring the single "Happy Up Here". The song debuted on BBC Radio 1's Pete Tong show on 9 January 2009. It was officially released digitally on 16 March 2009. The music video for "Happy Up Here", made by Reuben Sutherland, features elements from the arcade game Space Invaders. Both the single and the video were met with positive reactions from the press and fans. "The Girl and the Robot", the second single from the album Junior, featuring vocals from Swedish singer Robyn, was released on 15 June 2009. The vinyl and digital versions of the single included remixes of the song by Kris Menace, Chateau Marmont and Spencer & Hill. At the 52nd Grammy Awards, the Jean Elan remix of "The Girl and the Robot" was nominated for Best Remixed Recording, Non-Classical. "This Must Be It" is the third single from the album, including vocals from Swedish singer Karin Dreijer Andersson of The Knife and Fever Ray. The single also featuring remixes by Thin White Duke, LehtMoJoe, Rex the Dog and Apparat, among others. The band later released the stems for the song "Tricky Tricky" as part of a remix competition and the winning entries were released on 27 October 2009. Junior was a success around the world. The album peaked at number one in Norway, the band's third consecutive release to do so. Junior also peaked at number 21 on the UK Albums Chart and charted on many Billboard charts, including the Billboard 200-the first Royksopp release to do so-where it peaked at number 126. The album also peaked at number four on the Top Electronic Albums chart and number two on the Top Heatseekers chart. Junior was followed by Senior, which is more quiet, "withdrawn and introspective" and "create[s] an atmosphere and an ambiance". Senior is the duo's first album to consist solely of instrumental tracks. The first single from the album, "The Drug", was released on 9 August 2010. The album itself was released on 13 September 2010, and was successful in the band's native Norway, peaking at number one, the band's fourth consecutive release to do so.

What was junior and senior?

album

input: Knowles has always been compared by the media to her sister, Beyonce, whom she considers one of her role models. She has expressed her opinion of the comparison in the lyrics to "God Given Name": "I'm not her and never will be" - which was purposely set as the album's opening track to show their differences. In his review for the album, Jody Rosen of Rolling Stone magazine referred to the lyrics as a declaration of independence. In an interview with the Daily Mail, Knowles commented: "People think there should be this great rivalry between us, but there's never been any competition. There's a big age gap and we are two very different characters." Beyonce was unwilling to bring her sister into the recording industry, reasoning that it "involves a lot of pressure". Knowles countered by saying, "It's good to have her advice, but we really have different goals". In January 2017, Beyonce interviewed Solange for Interview magazine and discussed family, womanhood, and music. The sisters' exchange is a testimony to the heart Solange puts into her craft. In recent years, Knowles has also garnered considerable attention as a fashion icon. Her knack for bold colors, mixed prints and retro styles as well as her knack for glamorous, fashion forward looks in her music videography and public appearances has become integral to her current image. She has been photographed wearing Alexander Wang, Alexander McQueen and Chanel. The music video for her 2012 single "Losing You" featured a heavy demonstration of the contemporary sartorial movement throughout Africa, La Sape. Similarly, her decision to grow her natural hair initially generated strong reactions from the public. Since trimming off her straightened hair, her nostalgic and modern afro hairstyles have captured the attention of the media and the public alike. At the 2017 Glamour Women of the Year awards, Knowles wore a yellow Jean-Paul Gaultier couture gown, and was named a Woman of the Year.

Answer this question "How was Solange Knowles in the public image?"
output:
Knowles has always been compared by the media to her sister,