IN: Plains Indians, Interior Plains Indians or Indigenous people of the Great Plains and Canadian Prairies are the Native American tribes and First Nation band governments who have traditionally lived on the greater Interior Plains (i.e. the Great Plains and the Canadian Prairies) in North America. Their historic nomadic culture and development of equestrian culture and resistance to domination by the government and military forces of Canada and the United States have made the Plains Indian culture groups an archetype in literature and art for American Indians everywhere. Plains Indians are usually divided into two broad classifications which overlap to some degree. The first group became a fully nomadic horse culture during the 18th and 19th centuries, following the vast herds of buffalo, although some tribes occasionally engaged in agriculture.

The earliest Spanish explorers in the 16th century did not find the Plains Indians especially warlike. The Wichita in Kansas and Oklahoma lived in dispersed settlements with no defensive works. The Spanish initially had friendly contacts with the Apache (Querechos) in the Texas Panhandle.  Three factors led to a growing importance of warfare in Plains Indian culture. First, was the Spanish colonization of New Mexico which stimulated raids and counter-raids by Spaniards and Indians for goods and slaves. Second, was the contact of the Indians with French fur traders which increased rivalry among Indian tribes to control trade and trade routes. Third, was the acquisition of the horse and the greater mobility it afforded the Plains Indians. What evolved among the Plains Indians from the 17th to the late 19th century was warfare as both a means of livelihood and a sport.  The Plains Indians raided each other, the Spanish colonies, and, increasingly, the encroaching frontier of the Anglos for horses, and other property. They acquired guns and other European goods primarily by trade. Their principal trading products were buffalo hides and beaver pelts.  Although they could be tenacious in defense, Plains Indians warriors took the offensive mostly for material gain and individual prestige. The highest military honors were for "counting coup"--touching a live enemy. Battles between Indians often consisted of opposing warriors demonstrating their bravery rather than attempting to achieve concrete military objectives. The emphasis was on ambush and hit and run actions rather than closing with an enemy. Success was often counted by the number of horses or property obtained in the raid. Casualties were usually light. "Indians consider it foolhardiness to make an attack where it is certain some of them will be killed."  Due to their mobility, endurance, horsemanship, and knowledge of the vast plains that were their domain, the Plains Indians were often victors in their battles against the U.S. army in the American era from 1803 to about 1890. However, although Indians won many battles, they could not undertake lengthy campaigns. Indian armies could only be assembled for brief periods of time as warriors also had to hunt for food for their families. The exception to that was raids into Mexico by the Comanche and their allies in which the raiders often subsisted for months off the riches of Mexican haciendas and settlements. The basic weapon of the Indian warrior was the short, stout bow, designed for use on horseback and deadly, but only at short range. Guns were usually in short supply and ammunition scarce for Native warriors.

When was their first battle

OUT: 1803

Answer the question at the end by quoting:

Andy Samuel Griffith (June 1, 1926  - July 3, 2012) was an American actor, comedian, television producer, Southern gospel singer, and writer, whose career spanned seven decades of music and television. Known for his southern drawl, his characters with a folksy-friendly personality, and his gruff, gregarious voice, Griffith was a Tony Award nominee for two roles, and gained prominence in the starring role in director Elia Kazan's film A Face in the Crowd (1957) before he became better known for his television roles, playing the lead roles of Andy Taylor in the sitcom The Andy Griffith Show (1960-1968) and Ben Matlock in the legal drama Matlock (1986-1995).
Griffith was born on June 1, 1926 in Mount Airy, North Carolina, the only child of Carl Lee Griffith and his wife, Geneva (Nunn). As a baby, Griffith lived with relatives until his parents could afford to buy a home. With neither a crib nor a bed, he slept in dresser drawers for several months. In 1929, when Griffith was three, his father began working as a helper or carpenter and purchased a home in Mount Airy's "blue-collar" south side.  Griffith grew up listening to music. By the time he entered school, he was well aware that he was from what many considered the "wrong side of the tracks". He was a shy student, but once he found a way to make his peers laugh, he began to come out of his shell and come into his own.  As a student at Mount Airy High School, Griffith cultivated an interest in the arts, and he participated in the school's drama program. A growing love of music, particularly swing, would change his life. Griffith was raised Baptist and looked up to Ed Mickey, a minister at Grace Moravian Church, who led the brass band and taught him to sing and play the trombone. Mickey nurtured Griffith's talent throughout high school until graduation in 1944. Griffith was delighted when he was offered a role in The Lost Colony by Paul Green, a play about Roanoke Island still performed today. He performed as a cast member of the play for several years, playing a variety of roles, until he finally landed the role of Sir Walter Raleigh, the namesake of North Carolina's capital.  He attended the University of North Carolina (UNC) in Chapel Hill, North Carolina, and graduated with a Bachelor of Music degree in 1949. He began college studying to be a Moravian preacher, but he changed his major to music and became a part of the school's Carolina Playmakers. At UNC, he was president of the UNC chapter of Phi Mu Alpha Sinfonia, America's oldest fraternity for men in music. He also played roles in several student operettas, including The Chimes of Normandy (1946), and Gilbert and Sullivan's The Gondoliers (1945), The Mikado (1948) and H.M.S. Pinafore (1949).  After graduation, he taught music and drama for a few years at Goldsboro High School in Goldsboro, North Carolina, where he taught, among others, Carl Kasell. He also began to write.

What was his first job after graduating from college ?

he taught music and drama for a few years

input: In his article "Propositional Attitudes" (1978), Fodor introduced the idea that mental states are relations between individuals and mental representations. Despite the changes in many of his positions over the years, the idea that intentional attitudes are relational has remained unchanged from its original formulation up to the present time.  In that article, he attempted to show how mental representations, specifically sentences in the language of thought, are necessary to explain this relational nature of mental states. Fodor considers two alternative hypotheses. The first completely denies the relational character of mental states and the second considers mental states as two-place relations. The latter position can be further subdivided into the Carnapian view that such relations are between individuals and sentences of natural languages and the Fregean view that they are between individuals and the propositions expressed by such sentences. Fodor's own position, instead, is that to properly account for the nature of intentional attitudes, it is necessary to employ a three-place relation between individuals, representations and propositional contents.  Considering mental states as three-place relations in this way, representative realism makes it possible to hold together all of the elements necessary to the solution of this problem. Further, mental representations are not only the objects of beliefs and desires, but are also the domain over which mental processes operate. They can be considered the ideal link between the syntactic notion of mental content and the computational notion of functional architecture. These notions are, according to Fodor, our best explanation of mental processes.

Answer this question "What was the second alternative hypotheses?"
output:
the second considers mental states as two-place relations.