Question: The North American fur trade was the industry and activities related to the acquisition, trade, exchange, and sale of animal furs in North America. Aboriginal peoples in Canada and Native Americans in the United States of different regions traded among themselves in the Pre-Columbian Era, but Europeans participated in the trade beginning from the time of their arrival in the New World and extended its reach to Europe. The French started trading in the 16th century, the English established trading posts on Hudson Bay in present-day Canada in the 17th century, and the Dutch had trade by the same time in New Netherland. The 19th-century North American fur trade, when the industry was at its peak of economic importance, involved the development of elaborate trade networks.

At the beginning of the 18th century, more organized violence than in previous decades occurred between the Native Americans involved in the deerskin trade and white settlers, most famously the Yamasee War. This uprising of Indians against fur traders almost wiped out the European colonists in the southeast. The British promoted competition between tribes, and sold guns to both Creeks and Cherokees. This competition sprang out of the slave demand in the southeast - tribes would raid each other and sell prisoners into the slave trade of the colonizers. France tried to outlaw these raids because their allies, the Choctaws, Chickasaws, and Yazoos, bore the brunt of the slave trade. Guns and other modern weapons were essential trading items for the Native Americans to protect themselves from slave raids; motivation which drove the intensity of the deerksin trade. The need for Indian slaves decreased as African slaves began to be imported in larger quantities, and the focus returned to deerskins. The drive for Indian slaves also was diminished after the Yamasee War to avoid future uprisings.  The Yamasees had collected extensive debt in the first decade of the 1700s due to buying manufactured goods on credit from traders, and then not being able to produce enough deerskins to pay the debt later in the year. Indians who were not able to pay their debt were often enslaved. The practice of enslavement extended to the wives and children of the Yamasees in debt as well. This process frustrated the Yamasees and other tribes, who lodged complaints against the deceitful credit-loaning scheme traders had enforced, along with methods of cheating or trade. The Yamasees were a coastal tribe in the area that is now known as South Carolina, and most of the white-tailed deer herds had moved inland for the better environment. The Yamasees rose up against the English in South Carolina, and soon other tribes joined them, creating combatants from almost every nation in the South. The British were able to defeat the Indian coalition with help from the Cherokees, cementing a pre-existing trade partnership.  After the uprisings, the Native Americans returned to making alliances with the European powers, using political savvy to get the best deals by playing the three nations off each other. The Creeks were particularly good at manipulation - they had begun trading with South Carolina in the last years of the 17th century and became a trusted deerskin provider. The Creeks were already a wealthy tribe due to their control over the most valuable hunting lands, especially when compared to the impoverished Cherokees. Due to allying with the British during the Yamasee War, the Cherokees lacked Indian trading partners and could not break with Britain to negotiate with France or Spain.

Using a quote from the above article, answer the following question: Who were major suppliers of fur at the beginning of the 18th century?
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Answer: The Creeks were particularly good at manipulation - they had begun trading with South Carolina in the last years of the 17th century and became a trusted deerskin provider.


Question: Willson was born in Mason City, Iowa, to John David Willson and Rosalie Reiniger Willson, and he had a brother two years his senior, John Cedrick, and a sister 12 years his senior, the children's author Dixie Willson. He attended Frank Damrosch's Institute of Musical Art (which later became the Juilliard School) in New York City. He married his high school sweetheart, Elizabeth "Peggy" Wilson, on August 29, 1920. A flute and piccolo player, Willson was a member of John Philip Sousa's band (1921-1923), and the New York Philharmonic Orchestra under Arturo Toscanini (1924-1929).

His work in films included composing the score for Charlie Chaplin's The Great Dictator (1940) (Academy Award nomination for Best Original Score), and arranging music for the score of William Wyler's The Little Foxes (1941) (Academy Award nomination for Best Music Score of a Dramatic Picture).  During World War II, he worked for the United States' Armed Forces Radio Service. His work with the AFRS teamed him with George Burns, Gracie Allen and Bill Goodwin. He would work with all three as the bandleader, and a regular character, on the Burns and Allen radio program. He played a shy man, always trying to get advice on women. His character was ditsy as well, basically a male version of Gracie Allen's character.  In 1942, Willson had his own program on NBC. Meredith Willson's Music was a summer replacement for Fibber McGee and Molly. Sparkle Time, which ran on CBS in 1946-47, was Willson's first full-season radio program.  Returning to network radio after WWII, he created the Talking People, a choral group that spoke in unison while delivering radio commercials. He also became the musical director for The Big Show, a prestigious comedy-variety program hosted by actress Tallulah Bankhead and featuring some of the world's most respected entertainers. Willson himself became part of one of the show's very few running gags, beginning replies to Bankhead's comments or questions with "well, sir, Miss Bankhead . . ." Willson wrote the song "May the Good Lord Bless and Keep You" for the show. Bankhead spoke the lyrics over the music at the end of each show. He also worked on Jack Benny's radio program, and hosted his own program in 1949. For a few years in the early 1950s, Willson was a regular panelist on the Goodson-Todman game show The Name's the Same.  In 1950 Willson served as Musical Director for The California Story, the Golden State's centennial production at the Hollywood Bowl. Through working on this production, Willson met writer Franklin Lacey who proved instrumental in developing the story line for a musical Willson had been working on, soon to be known as The Music Man. The California Story spectacular was followed by two more state centennial collaborations with stage director Vladimir Rosing: The Oregon Story in 1959 and The Kansas Story in 1961.

Using a quote from the above article, answer the following question: What other movies or songs did he win awards for?
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Answer:
Charlie Chaplin's The Great Dictator (1940) (Academy Award nomination for Best Original Score),