Problem: Echo & the Bunnymen are an English rock band formed in Liverpool in 1978. The original line-up consisted of vocalist Ian McCulloch, guitarist Will Sergeant and bassist Les Pattinson, supplemented by a drum machine. By 1980, Pete de Freitas joined as the band's drummer. Their 1980 debut album, Crocodiles, went into the top 20 of the UK Albums Chart.

In June 1982, the Bunnymen achieved their first significant UK hit single with "The Back of Love" (No. 19). In July 1982, they performed at the first WOMAD festival. This was followed in early 1983 with their first Top 10, the more radio-friendly "The Cutter", which climbed to No. 8. The parent album, Porcupine, hit No. 2 in the album chart. Now firmly established as a chart act, further hits followed with a one-off single, "Never Stop" (No. 15), and "The Killing Moon", a preview from the new album featuring a dramatic McCulloch vocal, which became the band's second UK Top 10 single at No. 9.  Following a PR campaign which proclaimed it "the greatest album ever made" according to McCulloch, 1984's Ocean Rain reached No. 4, and today is widely regarded as the band's landmark album. Single extracts "Silver" (UK No. 30) and "Seven Seas" (UK No. 16) consolidated the album's continued commercial success. In the same year, McCulloch had a minor solo hit with his cover version of "September Song".  Echo & the Bunnymen toured Scandinavia in April 1985, performing cover versions of songs from Television, the Rolling Stones, Talking Heads and The Doors. Recordings from the tour emerged as the semi-bootleg On Strike. Unfortunately for the band, Ocean Rain proved to be a difficult album to follow up, and they could only re-emerge in 1985 with a single, "Bring on the Dancing Horses" (UK No. 21), and a compilation album, Songs to Learn & Sing, which made No. 6 in the UK album chart. However, all was not well in the Bunnymen camp, and Pete de Freitas left the band. Their next album, the self-titled Echo & the Bunnymen (1987), was initially recorded with ex-ABC drummer David Palmer, but when de Freitas returned in 1986, it was largely re-recorded. Eventually released in mid-1987, the record sold well (UK No. 4), and was a small American hit, their only LP to have significant sales there.  In the United States, the band's best-known songs were "The Killing Moon" and "Lips Like Sugar". "Bring on the Dancing Horses" is well known as one of the songs on the soundtrack to the John Hughes film Pretty in Pink. "The Killing Moon" was featured in the films Grosse Pointe Blank and Donnie Darko, and in Series 2, Episode 5 of the E4 series Misfits. Ocean Rain's "Nocturnal Me" was used to close out Stranger Things Season 1, Episode 5. The band also contributed a cover version of The Doors song "People Are Strange" to The Lost Boys soundtrack.

How did they do this?

Answer with quotes: performing cover versions of songs from Television,


Problem: 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 happened between Anquetil and Poulidor ?

Answer with quotes:
Anquetil unfailingly beat Raymond Poulidor in the Tour de France and yet Poulidor remained the more popular.