input: Mortimer was called to the Bar (Inner Temple) in 1948, at the age of 25. His early career consisted of testamentary and divorce work, but on taking silk in 1966, he began to undertake work in criminal law. His highest profile, though, came from cases relating to claims of obscenity, which, according to Mortimer, were "alleged to be testing the frontiers of tolerance."  He has sometimes been incorrectly cited as a member in the Lady Chatterley's Lover obscenity trial defence team, though this is inaccurate. Mortimer did however successfully represent publishers John Calder and Marion Boyars in their 1968 appeal against their conviction for publishing Hubert Selby, Jr.'s Last Exit to Brooklyn. He assumed a similar role three years later, this time unsuccessfully, for Richard Handyside, the English publisher of The Little Red Schoolbook.  Mortimer was also defence counsel at the Oz conspiracy trial later in 1971. In 1976, he defended Gay News editor Denis Lemon (Whitehouse v. Lemon) for the publication of James Kirkup's "The Love that Dares to Speak its Name" against charges of blasphemous libel; Lemon was convicted with a suspended prison sentence, later overturned on appeal. His defence of Virgin Records in the 1977 obscenity hearing for their use of the word bollocks in the title of the Sex Pistols album Never Mind the Bollocks, Here's the Sex Pistols, and the manager of the Nottingham branch of the Virgin record shop chain for the record's display in a window and its sale, led to the defendants' being found not guilty. Mortimer retired from the bar in 1984.

Answer this question "When was this case?"
output: 1976,

input: At the time of sustained European contact in the 16th centuries and 17th centuries, the Lenape were a powerful Native American nation who inhabited a region on the mid-Atlantic coast spanning the latitudes of southern Massachusetts to the southern extent of Delaware in what anthropologists call the Northeastern Woodlands. Although never politically unified, the confederation of the Delaware roughly encompassed the area around and between the Delaware and lower Hudson rivers, and included the western part of Long Island in present-day New York. Some of their place names, such as Manhattan ("the island of many hills"), Raritan, and Tappan were adopted by Dutch and English colonists to identify the Lenape people that lived there. Based on the historical record of the mid-17th century, it has been estimated that most Lenape polities consisted of several hundred people but it is conceivable that some had been considerably larger prior to close contact, given the wars between the Susquehannocks and the Iroquois, both of whom were armed by the Dutch fur traders, while the Lenape were at odds with the Dutch and so lost that particular arms race.  During the Beaver Wars in the first half of the 17th century, European colonists were careful to keep firearms from the coastally located Delaware, while rival Iroquoian peoples such as the Susquehannocks and Confederation of the Iroquois became comparatively well armed. Subsequently, the Lenape became subjugated and made tributary to first the Susquehannocks, then the Iroquois, even needing their rivals' (superiors') agreement to initiate treaties such as land sales. Like most tribes, Lenape communities were weakened by newly introduced diseases originating in Europe, mainly smallpox but also cholera, influenza and dysentery, and recurrent violent racial conflict with Europeans. Iroquoian peoples occasionally fought the Lenape. As the 18th century progressed, many surviving Lenape moved west--into the (relatively empty) upper Ohio River basin.  Smallpox devastated Native American communities even located far from European settlements by the 1640s. The Lenape and Susquehannocks fought a war in the middle of the 17th century that left the Delaware a tributary state even as the Susquehannocks had defeated the Province of Maryland between 1642-50s.

Answer this question "What happened in the 17th century?"
output: the Beaver Wars

input: During 1964, White began to look beyond bluegrass music towards rock 'n' roll as an avenue for artistic expression. Although he was influenced by Country guitarists like Doc Watson, Don Reno and Joe Maphis, he also idolized the playing of jazz guitarist Django Reinhardt, rock 'n' roller Chuck Berry, and studio musician James Burton. White even anticipated the viability of a folk/rock hybrid when, in the summer of 1964, he was approached by Jim Dickson to record a version of the then-unreleased Bob Dylan song "Mr. Tambourine Man" with electric instruments. However, despite White's enthusiasm for the project, he was unable to convince his bandmates in the Kentucky Colonels of the experiment's validity and ultimately, the song was instead recorded by Dickson's proteges, the Byrds.  By the time the original line-up of the Kentucky Colonels folded in late 1965, White had become a respected and well-known guitarist. Abandoning bluegrass temporarily, he switched from his Martin D-28 acoustic guitar to an electric Fender Telecaster, with the intention of becoming a studio musician like his hero James Burton. Transitioning to electric guitar required White to modify his right hand playing technique, switch from open chording to fretting the whole guitar neck with his left hand, and practice using the tone and volume controls. However, he soon mastered the intricacies of the instrument and, between 1965 and 1968, he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.  As 1965 turned into 1966, White met Gene Parsons and Gib Guilbeau at a recording session for the Gosdin Brothers and shortly after, he began to perform live with the duo in local California clubs, as well as doing regular session work on their records, which were released under the moniker of Cajun Gib and Gene. 1966 also saw White begin playing with a country group called Trio, which featured drummer Bart Haney and former Kentucky Colonel, Roger Bush, on bass. In autumn of that year, as a result of his friendship with Gilbeau, Parsons and the Gosdin Brothers, White was asked to provide lead guitar to ex-Byrd Gene Clark's debut solo album, Gene Clark with the Gosdin Brothers. White also briefly joined Clark's touring band shortly thereafter.  During the Clark album sessions, White reconnected with mandolin player and bassist Chris Hillman, who he had known during the early 1960s as a member of the bluegrass combo the Hillmen. Hillman was currently a member of the Byrds and in December 1966, he invited White to contribute countrified lead guitar playing to his songs "Time Between" and "The Girl with no Name", which both appeared on the Byrds' Younger Than Yesterday album. The country-oriented nature of the songs was something of a stylistic departure for the group and can be seen as an early indicator of the experimentation with country music that would color the Byrds' subsequent work. White also contributed guitar to the band's follow-up album, The Notorious Byrd Brothers, and to their seminal 1968 country rock release, Sweetheart of the Rodeo.

Answer this question "What was session work?"
output:
he undertook session work for artists including Ricky Nelson, the Monkees, and the Gosdin Brothers.