Background: Leonard Bernstein ( BURN-styne; August 25, 1918 - October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."
Context: While Bernstein was very well known for his music compositions and conducting, he was also known for his outspoken political views and his strong desire to further social change. His first aspirations for social change were made apparent in his producing (as a student) a recently banned opera, The Cradle Will Rock, by Marc Blitzstein, about the disparity between the working and upper class. His first opera, Trouble in Tahiti, was dedicated to Blitzstein and has a strong social theme, criticizing American civilization and suburban upper-class life in particular. As he went on in his career Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.  Like many of his friends and colleagues, Bernstein had been involved in various left wing causes and organizations since the 1940s. He was blacklisted by the US State Department and CBS in the early 1950s, but unlike others his career was not greatly affected, and he was never required to testify before the House Un-American Activities Committee. His political life received substantial press coverage though in 1970, due to a gathering hosted at his Manhattan apartment on January 14, 1970. Bernstein and his wife held the event seeking to raise awareness and money for the defense of several members of the Black Panther Party against a variety of charges. The New York Times initially covered the gathering as a lifestyle item, but later posted an editorial harshly unfavorable to Bernstein following generally negative reaction to the widely publicized story. This reaction culminated in June 1970 with the appearance of "Radical Chic: That Party at Lenny's", an essay by satirist Tom Wolfe featured on the cover of the magazine New York. The article contrasted the Bernsteins' comfortable lifestyle in one of the world's most expensive neighborhoods with the anti-establishment politics of the Black Panthers. It led to the popularization of "radical chic" as a critical term. Both Bernstein and his wife Felicia responded to the criticism, arguing that they were motivated not by a shallow desire to express fashionable sympathy but by their concern for civil liberties.  Bernstein was named in the book Red Channels: The Report of Communist Influence in Radio and Television (1950) as a Communist along with Aaron Copland, Lena Horne, Pete Seeger, Artie Shaw and other prominent figures of the performing arts. Red Channels was issued by the right-wing journal Counterattack and was edited by Vincent Hartnett, who was later found to have libeled and defamed the noted radio personality John Henry Faulk.
Question: Why did he critize American civilzation and suburan upper class?
Answer: Bernstein would go on to fight for everything from the influences of "American Music" to the disarming of western nuclear weapons.

Problem: Background: 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.
Context: 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".
Question: Who were some of these people?
Answer:
A big part of the public therefore finished by identifying with the one who symbolised bad luck and the eternal position of runner-up,