input: 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".

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Question: The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, they became widely regarded as the foremost and most influential act of the rock era. In the early 1960s, their enormous popularity first emerged as "Beatlemania", but as the group's music grew in sophistication, led by primary songwriters Lennon and McCartney, the band were integral to pop music's evolution into an art form and to the development of the counterculture of the 1960s. Their continued commercial and critical success assisted many cultural movements--including a shift from American artists' global dominance of rock and roll to British acts (British Invasion), the proliferation of young musicians in the 1960s who formed new bands, the album as the dominant form of record consumption over singles, the term "Beatlesque" used to describe similar-sounding artists, and several fashion trends.

Progressive rock (or art rock) grew out of the classically-minded strains of British psychedelia. In 1966, the level of social and artistic correspondence among British and American rock musicians dramatically accelerated for bands like the Beatles, the Beach Boys and the Byrds who fused elements of cultivated music with the vernacular traditions of rock. According to Everett, the Beatles' "experimental timbres, rhythms, tonal structures, and poetic texts" on their albums Rubber Soul and Revolver "encouraged a legion of young bands that were to create progressive rock in the early 1970s". Academics Paul Hegarty and Martin Halliwell identify the Beatles "not merely as precursors of prog but as essential developments of progressiveness in its early days". After the release of Rubber Soul, many "baroque-rock" works would soon appear, particularly due to its track "In My Life".  Citing a quantitative study of tempos in music from the era, musicologist Walter Everett identifies Rubber Soul as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music. Although the Kinks, the Yardbirds and the Beatles themselves (with "Ticket To Ride") had incorporated droning guitars to mimic the qualities of the sitar, Rubber Soul's "Norwegian Wood (This Bird Has Flown)" is generally credited as sparking a musical craze for the sound of the instrument in the mid-1960s -- a trend which would later be associated with the growth of raga rock, Indian rock, and the essence of psychedelic rock. In terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the most pivotal. Revolver ensured that psychedelic pop emerged from its underground roots and into the mainstream.  Author Carys Wyn Jones locates Sgt. Pepper's, along with Pet Sounds, to the beginning of art rock. Both albums are largely viewed as beginnings in the progressive rock genre due to their lyrical unity, extended structure, complexity, eclecticism, experimentalism and influences derived from classical music forms. For several years following Sgt. Pepper's release, straightforward rock and roll was supplanted by a growing interest in extended form. Several of the English psychedelic bands who followed in the wake of the Beatles' Sgt. Pepper's developed characteristics of the Beatles' music (specifically their classical influence) further than either the Beatles or contemporaneous West Coast psychedelic bands. AllMusic states that the first wave of art rock musicians were inspired by Sgt. Pepper's and believed that for rock music to grow artistically, they should incorporate elements of European and classical music to the genre.

Using a quote from the above article, answer the following question: What is progressiveness?
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Answer:
Progressive rock (or art rock) grew out of the classically-minded strains of British psychedelia.