Background: The French (French: Francais) are an ethnic group and nation who are identified with the country of France. This connection may be legal, historical, or cultural. Historically the French people's heritage is diverse, including populations of Gauls, Ligures, Latins, Franks, Iberians, Alamans and Norsemen. France has long been a patchwork of local customs and regional differences, and while most French people still speak the French language as their mother tongue, languages like Norman, Occitan, Catalan, Auvergnat, Corsican, Basque, French Flemish, Lorraine Franconian, Alsatian and Breton remain spoken in their respective regions.
Context: In France, the conception of citizenship teeters between universalism and multiculturalism, especially in recent years. French citizenship has been defined for a long time by three factors: integration, individual adherence, and the primacy of the soil (jus soli). Political integration (which includes but is not limited to racial integration) is based on voluntary policies which aims at creating a common identity, and the interiorization by each individual of a common cultural and historic legacy. Since in France, the state preceded the nation, voluntary policies have taken an important place in the creation of this common cultural identity.  On the other hand, the interiorization of a common legacy is a slow process, which B. Villalba compares to acculturation. According to him, "integration is therefore the result of a double will: the nation's will to create a common culture for all members of the nation, and the communities' will living in the nation to recognize the legitimacy of this common culture". Villalba warns against confusing recent processes of integration (related to the so-called "second generation immigrants", who are subject to discrimination), with older processes which have made modern France. Villalba thus shows that any democratic nation characterize itself by its project of transcending all forms of particular memberships (whether biological - or seen as such, ethnic, historic, economic, social, religious or cultural). The citizen thus emancipates himself from the particularisms of identity which characterize himself to attain a more "universal" dimension. He is a citizen, before being a member of a community or of a social class  Therefore, according to Villalba, "a democratic nation is, by definition, multicultural as it gathers various populations, which differs by their regional origins (Auvergnats, Bretons, Corsicans or Lorrains...), their national origins (immigrant, son or grandson of an immigrant), or religious origins (Catholics, Protestants, Jews, Muslims, Agnostics or Atheists...)."
Question: What time span are we talking about?
Answer: 

Background: Harry Lillis "Bing" Crosby Jr. (; May 3, 1903 - October 14, 1977) was an American singer and actor. Crosby's trademark warm bass-baritone voice made him one of the best-selling recording artists of all time, having sold over one billion analog records and tapes, as well as digital compact discs and downloads around the world.
Context: Crosby was born on May 3, 1903 in Tacoma, Washington, in a house his father built at 1112 North J Street. In 1906, his family moved to Spokane, and in 1913, his father built a house at 508 E. Sharp Avenue. The house sits on the campus of Gonzaga University, his alma mater.  He was the fourth of seven children: brothers Larry (1895-1975), Edward (1896-1966), Ted (1900-1973), and Bob (1913-1993); and two sisters, Catherine (1904-1974) and Mary Rose (1906-1990). His parents were Harry Lillis Crosby Sr. (1870-1950), a bookkeeper, and Catherine Helen "Kate" (nee Harrigan; 1873-1964). His mother was a second generation Irish-American. His father was of English descent; an ancestor, Simon Crosby, emigrated to America in the 17th century, and one of his descendants married a descendant of Mayflower passenger William Brewster (c. 1567 - April 10, 1644).  In 1910, seven-year-old Harry Crosby, Jr. was forever renamed. The Sunday edition of the Spokesman-Review published a feature called "The Bingville Bugle". Written by humorist Newton Newkirk, The Bingville Bugle was a parody of a hillbilly newsletter, filled with gossip, minstrel quips, creative spelling, and mock ads. A Crosby neighbor, 15-year-old Valentine Hobart, enjoyed reading "The Bugle", and noting Harry's laugh, took a liking to him and called him "Bingo from Bingville". Eventually, the last vowel was dropped and the nickname stuck.  In 1917, Crosby took a summer job as property boy at Spokane's "Auditorium," where he witnessed some of the finest acts of the day, including Al Jolson, who held him spellbound with ad libbing and parodies of Hawaiian songs. He later described Jolson's delivery as "electric."  Crosby graduated from Gonzaga High School (today's Gonzaga Prep) in 1920 and enrolled at Gonzaga University. He attended Gonzaga for three years but did not earn a degree. As a freshman, he played on the university's baseball team. The university granted him an honorary doctorate in 1937.
Question: where did he go to school?
Answer: campus of Gonzaga University,

Background: Dangerfield was born in Babylon, in Suffolk County, Long Island, New York. He was the son of Jewish parents, Dorothy "Dotty" (Teitelbaum) and the vaudevillian performer Phil Roy (Phillip Cohen). His mother was born in Hungary. Dangerfield's father was rarely home; Rodney would normally see him only twice a year.
Context: In the early 1960s he started down what would be a long road toward rehabilitating his career as an entertainer, still working as a salesman by day. He divorced his first wife Joyce in 1961, and returned to the stage, performing at many hotels in the Catskill Mountains, but still finding minimal success. He fell into debt (about $20,000 by his own estimate), and couldn't get booked. As he would later joke, "I played one club--it was so far out, my act was reviewed in Field & Stream."  He came to realize that what he lacked was an "image", a well-defined on-stage persona that audiences could relate to, one that would distinguish him from other comics. After being shunned by some premier comedy venues, he returned to the East Coast where he began developing a character for whom nothing goes right.  He took the name Rodney Dangerfield, which had been used as the comical name of a faux cowboy star by Jack Benny on his radio program at least as early as the December 21, 1941, broadcast, and later as a pseudonym by Ricky Nelson on the TV program The Adventures of Ozzie and Harriet. The Benny character, who also received little or no respect from the outside world, served as a great inspiration to Dangerfield while he was developing his own comedy character. The "Biography" program also tells of the time Benny visited Dangerfield backstage after one of his performances. During this visit Benny complimented him on developing such a wonderful comedy character and style. However, Jack Roy remained Dangerfield's legal name, as he mentioned in several interviews. During a question-and-answer session with the audience on the album No Respect, Dangerfield joked that his real name was Percival Swetwater.
Question: Did he receive a lot of criticism in his early career?
Answer: