Background: 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.
Context: 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.
Question: what other props are used
Answer: 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

Problem: Background: Sir Pelham Grenville Wodehouse  (; 15 October 1881 - 14 February 1975) was an English author and one of the most widely read humorists of the 20th century. Born in Guildford, the son of a British magistrate based in Hong Kong, Wodehouse spent happy teenage years at Dulwich College, to which he remained devoted all his life. After leaving school, he was employed by a bank but disliked the work and turned to writing in his spare time.
Context: There had been films of Wodehouse stories since 1915, when A Gentleman of Leisure was based on his 1910 novel of the same name. Further screen adaptations of his books were made between then and 1927, but it was not until 1929 that Wodehouse went to Hollywood where Bolton was working as a highly paid writer for Metro-Goldwyn-Mayer (MGM). Ethel was taken with both the financial and social aspects of Hollywood life, and she negotiated a contract with MGM on her husband's behalf under which he would be paid $2,000 a week. This large salary was particularly welcome because the couple had lost considerable sums in the Wall Street Crash of 1929.  The contract started in May 1930, but the studio found little for Wodehouse to do, and he had spare time to write a novel and nine short stories. He commented, "It's odd how soon one comes to look on every minute as wasted that is given to earning one's salary." Even when the studio found a project for him to work on, the interventions of committees and constant rewriting by numerous contract authors meant that his ideas were rarely used. In a 2005 study of Wodehouse in Hollywood, Brian Taves writes that Those Three French Girls (1930) was "as close to a success as Wodehouse was to have at MGM. His only other credits were minimal, and the other projects he worked on were not produced."  Wodehouse's contract ended after a year and was not renewed. At MGM's request, he gave an interview to The Los Angeles Times. Wodehouse was described by Herbert Warren Wind as "politically naive [and] fundamentally unworldly," and he caused a sensation by saying publicly what he had already told his friends privately about Hollywood's inefficiency, arbitrary decision-making, and waste of expensive talent. The interview was reprinted in The New York Times, and there was much editorial comment about the state of the film industry. Many writers have considered that the interview precipitated a radical overhaul of the studio system, but Taves believes it to have been "a storm in a teacup", and Donaldson comments that, in the straitened post-crash era, the reforms would have been inevitable.  Wind's view of Wodehouse's naivete is not universally held. Some biographers suggest that his unworldliness was only part of a complex character, and that in some respects he was highly astute. He was unsparing of the studio owners in his early-1930s short stories set in Hollywood, which contain what Taves considers Wodehouse's sharpest and most biting satire.
Question: What was the title of his novel
Answer:
Those Three French Girls (1930