Some context: 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.
Traditional Style bands, also known as Show Bands, are marching bands geared primarily towards crowd entertainment and perform on football fields. Typically, they perform a routine before the game, another at halftime, and sometimes after the game as well. Competitive show bands perform only one show that is continually refined throughout a season, while bands that focus on entertainment rather than competition usually perform a unique show for each game. These shows normally consists of three to five musical pieces accompanied by formations rooted in origin from Patterns in Motion, a book penned by band director William C. "Bill" Moffit, bandmaster of Purdue University All-American Marching Band and University of Houston Spirit of Houston. A recognizable style of show band is the one fielded by historically black colleges and universities (HBCUs). HBCU bands utilize the traditional "ankle-knee" high step and music selections are largely based on R&B, hip-hop, and contemporary popular music. In addition to traditional drill formations, HBCU bands feature heavily choreographed dance routines as part of their performances. Many of these bands may have a twirler line and/or a dancer line, but not necessarily flag twirlers. One of the most notable depictions of HBCU bands is the film Drumline. HBCU bands are a significant part of African-American musical culture and HBCU bands often surpass their associated football teams in popularity, a phenomenon that is uncommon among collegiate and high school marching bands. In 1989, as part of the celebrations for the bicentennial of the French Revolution, the Florida A&M University Marching 100, one of the most prolific HBCU bands in the country, was selected as the official representative of the United States in the bicentennial parade. Another style of show band is that used by many of the Big Ten Conference marching bands, a semi-military and semi-corps style. These bands perform a show that is designed to entertain the audience, but feature more traditional symphonic styles of music (marches, film scores, jazz, or older pop music) as well as some contemporary music. Big Ten style show bands have been influential in creating some of the earliest marching band innovations, and the style is used in high schools throughout much of the United States. Most show bands of either type include the traditional military band instrumentation of woodwinds, brass, and battery percussion. Some also include the front ensemble keyboard percussion, and may also incorporate the use of a color guard for flag, and rifle routines as well as a dance line.
Are there any other interesting aspects about this article?
A: Typically, they perform a routine before the game, another at halftime, and sometimes after the game as well.
Some context: 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's most humiliating race was the Trofeo Baracchi in Italy in 1962, when he had to be pushed by his partner, Rudi Altig, and was so exhausted that he hit a pillar before reaching the track on which the race finished. The Trofeo Baracchi was a 111 km race for two-man teams. Anquetil, the world's best time-triallist, and Altig, a powerful rider with a strong sprint, were favourites. But things soon went wrong. The writer Rene de Latour wrote: I got my stopwatch going again to check the length of each man's turn at the front. Generally in a race of the Baracchi type, the changes are very rapid, with stints of no more than 300 yards. Altig was at the front when I started the check -- and he was still there a minute later. Something must be wrong. Altig wasn't even swinging aside to invite Anquetil through... Suddenly, on a flat road, Anquetil lost contact and a gap of three lengths appeared between the two partners. There followed one of the most sensational things I have ever seen in any form of cycle racing during my 35 years' association with the sport -- something which I consider as great a physical performance as a world hour record or a classic road race win. Altig was riding at 30mph at the front -- and had been doing so for 15 minutes. When Anquetil lost contact, he had to ease the pace, wait for his partner to go by, push him powerfully in the back, sprint to the front again after losing 10 yards in the process, and again settle down to a 30mph stint at the front. Altig did this not just once but dozens of times. The pair reached the track on which the race finished. The timekeeper was at the entrance to the stadium, so Anquetil finished. But instead of turning on to the velodrome, he rode straight on and hit a pole. He was helped away with staring eyes and with blood streaming from a cut to his head. The pairing nevertheless won by nine seconds.
How was this race the most humiliating race?
A:
he had to be pushed by his partner,