IN: The Kinks were an English rock band formed in Muswell Hill, North London, in 1964 by brothers Ray and Dave Davies. They are regarded as one of the most important and influential rock bands of the 1960s. The band emerged during the height of British rhythm and blues and Merseybeat, and were briefly part of the British Invasion of the United States until their touring ban in 1965. Their third single, the Ray Davies-penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States.

The Kinks are regarded as one of the most important and influential rock acts of the 1960s and early 1970s. Stephen Thomas Erlewine called The Kinks "one of the most influential bands of the British Invasion". They were ranked 65th on Rolling Stone Magazine's "100 Greatest Artists of All Time" list. Artists influenced by The Kinks include punk rock groups such as the Ramones, The Clash, and The Jam, heavy metal acts including Van Halen and Britpop groups such as Oasis, Blur and Pulp. Craig Nicholls, singer and guitarist of The Vines, described the Kinks as "great songwriters, so underrated". Pete Townshend, guitarist with the Kinks' contemporaries the Who, credited Ray Davies with inventing "a new kind of poetry and a new kind of language for pop writing that influenced me from the very, very, very beginning." Jon Savage wrote that The Kinks were an influence on late 1960s American psychedelic rock groups "like The Doors, Love and Jefferson Airplane". Music writers and other musicians have acknowledged the influence of the Kinks on the development of hard rock and heavy metal. Musicologist Joe Harrington stated: "'You Really Got Me', 'All Day and All of the Night' and 'I Need You' were predecessors of the whole three-chord genre... [T]he Kinks did a lot to help turn rock 'n' roll (Jerry Lee Lewis) into rock (Led Zeppelin, Black Sabbath, The Stooges)." Queen guitarist Brian May credited the band with planting "the seed which grew into riff-based music." A musical, Sunny Afternoon, based on the early life of Ray Davies and the formation of the Kinks, opened at the Hampstead Theatre in April 2014. The musical's name came from the band's 1966 hit single "Sunny Afternoon" and features songs from the band's back catalogue. In 2015, it was reported that Julien Temple would direct a biopic of The Kinks titled You Really Got Me, with singer-songwriter Johnny Flynn and actor George MacKay cast to play Ray and Dave Davies, respectively.

Did they influence other bands?

OUT: the Ramones, The Clash, and The Jam,

Answer the question at the end by quoting:

A marching band is a group in which instrumental musicians perform while marching, often for entertainment or competition. Instrumentation typically includes brass, woodwind, and percussion instruments. Most marching bands wear a uniform, often of a military style, that includes an associated school or organization's colors, name or symbol. Most high school marching bands, and some college marching bands, are accompanied by a color guard, a group of performers who add a visual interpretation to the music through the use of props, most often flags and rifles.
Many bands have auxiliaries that add a visual component to the performance. For ceremonial bands, this could be a traditional color guard or honor guard. For drum & bugle corps and corps-style field bands, this could include Dance lines, majorettes, Auxiliary units may be collectively referred to as color guard or visual ensemble. Auxiliaries may perform as independent groups. In the early 1970s, color guards began to hold their own competitions in the winter (after the American football season, and before the beginning of the summer drum and bugle corps season). These became known as winter guard. There are also numerous dance competitions in the off-season. The color guard of a marching band or drum and bugle corps may contain sabers, mock rifles, and tall flags. In modern bands, other props are often used: flags of all sizes, horizontal banners, vertical banners, streamers, pom-poms, even tires, balls, and hula hoops or custom built props. The color guard may also employ stage dressing such as backdrops, portable flats, or other structures. These can be used simply as static scenery or moved to emphasize block drill, and are often used to create a "backstage" area to store equipment and hide personnel. While military color guards were typically male, band color guards tend to be primarily female, though it is becoming more common for men to join as well. A few independent units are all-male. Guard members nearly always wear a special uniform or costume that is distinctive from that of the band, not necessarily matching in design or color. The men's and women's guard uniforms are usually designed in one of two ways: nearly identically, but with gender-specific parts (i.e. skirts) adapted for the use of the opposite sex; or complimentarily, with the two uniforms designed similarly but with variations in color or form. The color guard uniform, especially in a high school marching band, need not be in school colors; in fact, they rarely are. These uniforms are designed to represent a certain aspect of the halftime show, characterize the guard members through costumes, or tell some sort of story, and can thus be in any design or color (a surprisingly common complaint among the high school audience is that guard uniforms and equipment "aren't school colors"). Indoor color guards have become popular within high schools and universities throughout the United States. These groups perform a theme-based show in competitions after the outdoor marching band season ends. Indoor color guard shows are typically performed in school gymnasiums and are adjudicated.

What else do they use

hula hoops or custom built props. The color guard may also employ stage dressing such as backdrops, portable flats,

input: His career in motorsport began in 1976 when he joined March Engineering in the town of Bicester as a milling machine operator. Soon afterwards he joined their Formula 3 racing team as a mechanic. Brawn was hired by Sir Frank Williams in 1978 as a machinist for the newly formed Williams team. He quickly moved up through the ranks, working in the R&D department with Frank Dernie and as an aerodynamicist in the team's wind tunnel. Brawn joined the Haas Lola team in 1985 and was part of Neil Oatley's design team at FORCE that produced both the Lola THL1 and THL2 cars used by the team. However, with the 4 cylinder Hart engine in the THL1 and the new Ford V6 turbo powering the THL2, results were scarce against teams like McLaren and Williams with their TAG-Porsche and Honda turbo engines. This was despite the cars generally being regarded by most in the F1 paddock as being the best handling cars on the grid, as well as having 1980 World Champion Alan Jones and former factory Ferrari and Renault driver Patrick Tambay as the drivers. When the Haas team left F1 at the end of the 1986 season, Brawn moved to Arrows. There he designed the Megatron powered Arrows A10 and its update, the A10B for the 1987 and 1988 seasons respectively and the Ford V8 powered Arrows A11 used in 1989. Later in 1989 Brawn moved to the Jaguar Sportscar racing division, and was lead designer on the Jaguar XJR-14 which won the 1991 World Sportscar Championship.

Answer this question "What did he do there?"
output:
He quickly moved up through the ranks, working in the R&D department with Frank Dernie and as an aerodynamicist in the team's wind tunnel.